A Historic Catalogue And Record Of Pittwater Art I – Of Places, Peoples And The Development Of Australian Art And Artists

'Pittwater & Lion Island', Image No.: a106167 'From Album - Scenes of Pittwater, N.S.W, Date of Work ca. 1900-1927 by Sydney & Ashfield : Broadhurst Post Card Publishers. William Henry Broadhurst (1855-1927) began publishing postcards from around 1900. Many of the photographs were hand coloured by his daughters before sale. - from and courtesy State Library of NSW Visit: Bayview Wharf

For a long time a dear held wish has been an opportunity to attend an Art Exhibition which features some of the early Historic Art and Artists of Pittwater and its environs. With luminaries such as William Lister Lister (actually born 'Buttrey'), Fred Williams, Lionel Lindsay, Neville Caley, the ‘more recent’ Arthur Murch, right through to Max Dupain and beyond, and so many others among these ranks, and these works now as far flung as the people and the histories associated with them, it seems this wish may have be satisfied by gathering and sharing here a few of these in Places, or Eras of half to one century or so lots, or in Mediums from sketch through paint to photography, or through some of the more defined Shifts in what was always and then became recognised as Australian Art and Australian Artists. As all of these come together to make one, the richness already given to us is inferred.

Drawings, sketches, paintings in all mediums were once the way, pre-photographs, to make a record of landscapes, sell a place for land sales or tourism (He Brees sketches and paintings of Newport readily springs to mind) record how people looked or worked and even record animals (Govett’s sketch of a ‘native bear’ – the koala). The earliest record of Pittwater in the drawings of William Bradley - Drawings from his journal `A Voyage to New South Wales from March 1788 (why are these hills so tall in comparison to the minuscule people in them?: to communicate their grandeur??) would commence these.

Although these first pictures of a place new to the eyes of those creating them may not be considered 'Australian Art' in the first instances, they were certainly art depicting Australia through many mediums of art, sketching, etching, watercolours and more, and are definitely "Australian Art" to the generations that have inherited these glimmers into what and how they artists saw.

Decades on, when articles on Pittwater were published prior to the rise of technology to publish photography, sketches, some turned into woodcuts and etchings or lithographs for prints and printing, were not only a way to illuminate news or the places spoken of, they were an art form in themselves and were often made by professional Artists in these fields.

A little later on Pittwater attracted many an Artist – to sketch, to paint, to show not only the places and structures here but also to communicate some of the essence of Pittwater – from Narrabeen to Palm Beach every nook, every view, every season has been captured.

Every place has been touched upon – from all the reaches and moods and season of Narrabeen, to Bilgola Beach before there was more than a single holiday weekender there, to Barrenjoey when it was still ‘Barranjoey’ and the Broken Bay Customs House prior to being a place for a Lightship, to some of the earliest published views of Pittwater, which were in fact The Basin, or ‘Blind Cove’. What this points to is Artists and publications wanted to somehow communicate the extraordinary beauty that lives and renews itself here, no matter how many changes the place and places have lived through.

It may well be impossible to find and list them all, since they range from a few days after convicts being sent to this ‘foreign land’ to the most recent works shown at the most recent Summer Exhibitions. Taken into account, also, is there are so many places in Pittwater being associated with Artists and then Artists colonies from her earliest days until even now - Narrabeen, Mona Vale, Avalon, Scotland Island. The Hermans, Esme Farmer at Mona Vale, Ailsa Allans prints from wood engravings of Palm Beach, and daughter Mitty Brown, to that clique that would come to Narrabeen a generation prior to then.

Photography, whether used as a record or to capture the nature here, has also become a medium that celebrates and records the shifts in our landscape and culture or people. Some of Sydney’s best and most famous early photographers, whether professionals or ‘amateurs’, photographed Pittwater and her surrounds and even when merely capturing a scene, that beauty and some of their own way of doing this, shines through. Further on, and as the ‘Art’ inherent in photography developed, the capturing as much as epitomising of any subject gave us not only scenes from Pittwater but also the deep culture of her people and their place in Australia. These Artists were capable of immersing themselves, of meeting the place. They also recorded Pittwater as Pittwater was – the panoramas of Enemark collection of panoramic photographs taken in or before 1920, some used for selling land once again, some used simply to celebrate Pittwater, allow us to date other occurrences by the structures in their images, the Broadhurst Post Card Publishers ‘postcards’ of Narrabeen, Samuel Woods Postcards of Bilgola, Avalon and Newport, the year Kerry came out to photograph the Ku-ring-gai Chase National Park, Frank Hurley was a resident and took numerous pictures, and that’s before we get anywhere near all the many wonderful and beautiful photographs taken by and kept in family albums, The Allen Family Albums not least among these – these are images many of us purchase in BIG scale to adorn our walls for very good reason – they give us and take us to the earlier essence of Pittwater, much like brilliant music does – all, once again, without words.

Just while on Max Dupain, there's a new Exhibition opening later this week:

Max Dupain’s Sunbaker is the inspiration for an audacious exhibition of contemporary photography and video works. Captured in 1937, the Sunbaker firmly entered Australia’s consciousness in the mid-1970s, rapidly becoming a symbol of our country’s identity and way of life. This exhibition showcases new works by 15 of Australia’s most stimulating artists. Using a variety of artistic mediums, these artists will intrigue audiences with diverse perceptions of Australian culture today. Under the Sun: Reimagining Max Dupain’s Sunbaker explores an iconic image, with artists responding to the question: is there something new under the sun? This exhibition is presented by the Australian Centre for Photography in partnership with the State Library of NSW.

In Pittwater we have the wonderful work of Tim Hixson in his very popular prints, Exhibitions and in the book ‘Beach’, the great, although he would not own it, works and working of John Stone, or Mackeral Beach’s Nat Bromhead and the sublime Jacqueline Andronicus are just a few more contemporary Photographic Artists who, even when just making a record of an event, have created something that belongs in ‘Art’. They immersed themselves and in doing so allow us to be immersed in their visions – ‘pretty sharky out there’ indeed!

As all Art is a communication that goes beyond words, and will capture something the Artists senses through their Self as much as introduce or reacquaint us with some inner life shown in recognisable features of a landscape in lines and colour, and this remains a one to one communion, it would pointless to deny we love them all and know this will only ever be a small glimmer into a much larger work.

This is simply a means to begin to record some of these, some of which remain in private collections here, in sketchbooks, on walls, in libraries, in the Manly Art Gallery, NSW State Library, the NSW Art Gallery and National Library of Australia Galleries, National Museum of Australia, National Maritime Museum and Powerhouse museum or even the Portrait Gallery – and probably will need revisiting past this initial round of four.

Placing all of the very many works created would be an impossible task, or go on for several volumes - but some from all viewpoints, mediums and hopefully, in a generous sequence of years, will communicate how much and how long our area has been inspiring the very talented to share what they have seen through their eyes - as Pittwater Coasts, Estuary, Peoples, Marine, Landscapes and Bush scenes, with subjects as manifold and multiple as any community owns, as well as some insights into the evolving Australian Art Schools and the Artists who have all contributed to and enriched us with Pittwater Art.

We start at the very beginning of Pittwater’s Art and its History….that’s a pretty good place to start:

Pittwater – The Estuary - March 1788

'View in Broken Bay New South Wales. March 1788' by William Bradley - Drawings from his journal `A Voyage to New South Wales',1802+ Image No.: a3461013, courtesy State Library of New South Wales.

'SW. Arm of Broken Bay New South Wales from an Island at the Entrance. Sepr 1789' by William Bradley - Drawings from his journal `A Voyage to New South Wales', 1802+, Image No.:a3461014, courtesy State Library of New South Wales.

William Bradley (1758–13 March 1833) was a British naval officer and cartographer who was one of the officers who participated in the First Fleet to Australia. During this expedition, Bradley undertook extensive surveys and became one of the first of the settlers to establish relations with the aborigines, with whom he struck up a dialogue and whose customs and nature he studied extensively. He later however fell out with his aboriginal contacts and instead undertook a mission to gather food which ended with an eleven-month stay on Norfolk Island after a shipwreck.

Bradley was attached on the Sirius to the First Fleet destined to colonise Australia. During 1788, Bradley did not involve himself directly in colonial affairs, but instead joined John Hunter in extensive operations along the Sydney Harbour coastline. The two men were often away from the colony for extended periods, conducting surveys of the coastline and the lands around. A keen note-taker and sketcher, Bradley compiled many records of his experiences - from Wikipedia

Mackabarang, a native of New South Wales, a frequent visitor in the colony, known by the name of Broken Bay Jack by Monsr. Le Petit delin.; E. Piper sculp - [London] : Pubd. by Geo. Riley, Augt. 18, 1803 - nla.obj-135903350-1, courtesy National Library of Australia

South shore, Broken Bay taken at the mouth of the harbour, South Head bearing north north west, New South Wales, 21 September, 1818 by Edward Close - nla.obj-138901017-1 courtesy National Library of Australia

Inside of the heads of Broken Bay taken from the entrance of Pittwater, New South Wales, 20 September 1818 by Edward Close - nla.obj-138902066-1 courtesy National Library of Australia

Sudden Death of Mr. E.C. Close Senior

It is with deep regret that we have to chronicle the unexpected death of one of the oldest colonists, and perhaps the most respected resident, of the district – Mr. Edward Charles Close of Morpeth. The deceased gentleman on Sunday last was in his usual health, and though for some time past his advanced years, and partial palsy of the right side, arising from his having met with several accidents, had made him feeble, he attended Divine service on Sunday morning at St. James’s church, Morpeth. He retired to rest on Sunday evening, and made no complaint of any illness or weakness. Early yesterday morning Mr. George Close entered his room, and beheld his father lying on the floor near the bed and on approaching him, to his grief, he found life had departed.

It would appear that the deceased gentleman had during the night got out of bed, and was returning to it when he fell, and died in an attack of apoplexy. His features were placed, and no signs of a struggle with death were visible. Mr. Close was quite cold when discovered, and apparently had been dead several hours.

Mr. Close was born at Rangamatti, in India, in the year 1789, and was brought up and educated at a place called Chantrey in Ipswich, Suffolk, the residence of his uncle Charles Strencham Collinson, high sheriff of the county. Mr. Close’s early education was imparted with a view to fit him for the ministry of the Church but as he advanced to manhood the warlike spirit of the period gained possession of him and won him to the profession of arms. He entered the British army under the Duke of Wellington and during the peninsula War he saw much service, and was present at seven engagements. His career in battle won for him the Peninsula medal; and this decoration with seven clasps bearing the names of the battles which he had shared the fortunes of, he occasionally wore. The fields named on these clasps are famous in history – Toulouse, Orthes, Nivelle, Vittoria, Albuera, Bussco, and Talavera.

In the year 1817 Mr. Close arrived in this colony with the 48th regiment of Foot in which he held a Lieutenant’s commission. Four years afterwards he received a grant of land, as was usual in those days, and he close the site of the present town of Morpeth, and the land adjoining it. He settled in Morpeth in the year 1821 and resided there from that time a period of forty five years. He was the first police magistrate of this district, and that office he held for a number of years. He was eight or nine years a member of the first Legislative Council of these colonies. Until a very late period he was Warden of the Maitland District and in that capacity as in all others he fulfilled his duties with honour to himself and benefit to his adopted country. To his credit it can also be said that he filled all these offices without emolument – he never received a shilling from the revenue of the colony Of the Maitland hospital he has long been the honoured president and has always been a liberal supporter of that excellent institution. In recognition of his efforts on its behalf a number of the friends of the institution some time ago had a fine portrait of him taken in oil colours and the painting now adorns the committee room.

Throughout life Mr. Close maintained the character of a sincere Christian. His Christianity was no mere outward show of sanctity He was always a liberal contributor to his own church, and to the churches of other denominations he presented valuable sites for the erection of places of worship. The poor and afflicted ever found ah helping hand extended with the kind words of comfort he would utter. As a landlord he was indulgent in the extreme especially in seasons of distress; his sympathetic heart was ever ready to respond to the appeal of the distressed. His tenants will ever gratefully venerate his memory. It is but rarely that a whole district is found uniting in deep and sincere regret for a gentleman, one of whose prominent characteristics was a very modest estimate of his own ability and influence. Mr. Close never was a fluent or ready speaker at public meetings, and he used always laughingly to remark that he never was a speaker nor would he when appealed to ever attempt even to repeat the expressions he had used, so strong was this conviction with him. Yet we have repeatedly seen Mr. Close turn the current of feeling at a meeting where people had got warm and angry.

He was a man of singularly genial and cordial manner, equally pleasant in demeanour to the rich and poor, and influential and the retiring, and never himself arousing any angry feeling by his words or acts, and being a man of strong common sense and clearness of thought, hi hesitating short speech would be listened to with the deepest respect, and would often still the clamour and anger that more ready speakers had tried in vain to allay. But though not a public speaker, Mr. Close was eminent for conversational power, and charged the most intelligent men by his quite humour and genial enjoyment of the passing joke, These qualities united with readiness to take part in nearly all public movements made Mr. Close, in the days of his strength the favourite chairman of this part of the hunter. We have had among us and we happily can still number among our leading residents some true specimens of the fine old English gentleman but we have never known any one who was a finer or truer example than Mr. Close. SUDDEN DEATH OF MR. E. C. CLOSE, SENIOR (1866, May 9). Empire (Sydney, NSW : 1850 - 1875), p. 5. Retrieved from http://nla.gov.au/nla.news-article60591909

William Govett notes and sketches taken during a surveying Expedition in N. South Wales and Blue Mountains Road by William Govett on staff of Major Mitchell, Surveyor General of New South Wales, 1830-1835

This notebook with entries written in Govett’s hand provides a detailed description of times and distances of the route of the journey through the Blue Mountains and details of the terrain, including 31 drawings (tipped in) illustrating Govett’s journey. Several of the sketches appear to have been inserted at a later date, possibly by other people with several annotations on the reverse of the sketches written in pencil. At the end of the volume are two letters, one addressed to Rev Lang, Mar. 13 1873 by Dr J. Govett Smith and one received from John. D. Lang Mar. 28th 1873 concerning the naming by Sir T.L. Mitchell of Govett’s Leap in recognition of Govett’s services as a surveyor and several newscuttings collected by Govett

+ a description therefore of its apparent peculiarities & characteristic scenery in as far as I witnessed during a survey in 1829 may be considered interesting.

Sketches to accompany

+ North Head of Port Jackson

+ Barrenjuee or S. Head of Broken Bay

natives fishing for snappers in the Coast +

Natives in Canoes.

+ Character of Broken ridges between Cowan & Berowra Cks.

It wd. have added more to the Interest if I cd. have laid down wh. the science of a Geologist the different structure of the strata, or have stated wh. [indecipherable] correctness the general mineral compositions formation of the rocks and [indecipherable] any mineral stratification but as my attention was wholly directed to delineating the outward features I cannot now attempt, (what I am incompetent to go through with for want of correct information) a description of the disposition of the rocks and [indecipherable] strata – wh. without accurate & detailed drawings supported by the most diligent & scientific research, would be unsatisfactory and scarcely intelligible. It must be understood therefore that I describe the scenery according to the impressions wh. it made when I was on the ground,

and if any one shd. hereafter tax me wh. exaggeration and making mountains of molehills, I can only wish that person at the bottom of one of the Ravines to make his best way out, and I am inclined to think from what I have myself experienced that he will alter his tone before he has ascended half way -

[Page 50] [Watercolour – probably Barrenjoey ]

[Page 51]

[Drawing entitled] South Head of the Hawkesbury River called by the natives Barranjuee – W.R.G. –

Between pp.30-31 South Head of Hawkesbury River called by the Natives Barrenjuee [sic]. W.R.G. (wc)

Between pp. 34-35

a. Sketch of ranges between Pitt Water and Cowan (ink) Image No.: a2424012h - courtesy State Library of NSW

b. [General view of ranges] (ink)

Barrenjuie on south head of Broken Bay - Image No.: a2424011h, courtesy State Library of NSW

Natives fishing for snapper on the coast - Image No.: a2424014h, courtesy State Library of NSW

Digital Order Number: c027200026 from Album Sketchbook of views and botanical studies in the Illawarra district, 1835 / drawn by Conrad Martens

Conrad Martens (London 1801 – 21 August 1878) was an English-born landscape painter active on HMS Beagle from 1833, and in Australia from 1835. His father was a merchant who came originally to London as Austrian Consul; Conrad was born in "Crutched Friars" near Tower Hill. Like his two brothers, John William and Henry, he studied landscape painting under the prominent watercolourist Copley Fielding.

In 1832 he joined the ship Hyacinth as a topographical artist. In Montevideo near the end of 1833 he met Robert FitzRoy, captain of HMS Beagle, who engaged him as a draughtsman to replace the ship's artist Augustus Earle who had fallen ill. In this way he joined the second voyage of HMS Beagle and soon struck up a lifelong friendship with Charles Darwin who was taking part in the expedition as a self-financing gentleman naturalist and companion to the captain. They sailed south to Patagonia. Martens left the Beagle at Valparaiso in the second half of 1834 and took passage to Sydney via Tahiti, arriving in 1835.

Martens was introduced to the New South Wales gentry and soon achieved success in Sydney with several commissions. He went on to become the most proficient, prominent and prolific landscape artist in the colony. The Beagle arrived in 1836, and Darwin and Captain Fitzroy commissioned a number of paintings from the Beagle's voyages in Tierra Del Fuego and the Pacific. Other large commissions followed, and in 1837 some of Martens' Australian watercolours were exhibited at the Royal Society in London. In 1839, however, a drought triggered an economic recession which was to last until the 1850s, and commissions became increasingly difficult to acquire. In the 1840s he turned to lithographs, which allowed him to sell the same work many times over - his 'View of Sydney from the North Shore' was especially popular.

Conrad Martens married Jane Carter, of Welsh heritage and the only child of William and Jane Carter at St James Church, Sydney, on 9 March 1837. Jane's father, a private barrister and first Master in Chancery of the Supreme Court of NSW had purchased one of Martens' paintings, View of Tahiti in September 1836.

He exhibited at the Victorian Fine Arts Society in Melbourne in 1853, and at the Paris Universal Exhibition in 1855. Eventual improvement in the Australian economy in the later 1850s (largely due to the discovery of gold) led to an increase in significant commissions. A famous painting is North Head, Sydney Harbour (1854).

In 1862 he received a message from Darwin, and replied congratulating him on the success of The Origin of Species. He sent Darwin a watercolour of Brisbane River and exhibited at the International Exhibition in London. In 1863 he became Assistant Librarian in the Parliamentary Library, securing his financial position, but severely curtailing the time he could spend on artistic work. Nevertheless, he exhibited at the Paris International Exhibition in 1867. He received his first public commission in 1872, from the Victorian Gallery (later National Gallery of Victoria), for a watercolour of Apsley Falls on Waterloo (Pastoral) Station, near Walcha, New South Wales, and a second similar commission in 1875 from the New South Wales Academy of Arts (later Art Gallery of New South Wales), of whose Council he became a member in 1877.

From the later 1860s Martens suffered from angina, and he died from a heart attack on 21 August 1878. He is buried at St Thomas cemetery, North Sydney. - from Wikipedia

A "mystery" artist of old Sydney was Walter George Mason, a wood-engraver, says G. A. King in the "Sydney Morning Herald."' Not many persons know much about him, and those who do want to know more. His work, hung up in odd interesting corners of the city, or in old books, can still be seen; he combined happily the life of an enthusiastic artist and a public man; and a weather-beaten tombstone, lying at his head in the Camperdown Cemetery, " sacred to the memory," states that he died aged 47.

That was on March 12, 1866, but the Story of his work is fresh. He came out of a family of artists. He was born in Middlesex', his father being one of the best wood-engravers, of the time. In the thirties his father emigrated with his family to New York, where he opened a large bookseller's shop in Canal Street, and illustrated a number of books. With him, Walter Mason began the study of his art, in which the young man soon became proficient Walter Mason was sent back to London lo Mr G. Bonnor, an artist of eminence with whom he remained till the return of his family in 1840.

Young Mason, in turn, became known ns one of the clever wood-engravers of the day, and for some time was associated with the " Illustrated London News." He also did some book illustrating. Walter Mason, with his wife and two brothers, Charles and George came to Sydney in the 50's, and his parents soon followed him to Australia. Mason's father died about 1860 and his first wife died soon after her arrival in Sydney. A little later on September 15, 1869,-Walter Mason married a daughter of Mr William Brody, a tailor of Sydney.

WELL KNOWN ABOUT TOWN.

Walter Mason's death, at his residence, Stanley Street, Woolloomooloo was sudden. The daily newspapers referred only very briefly to it. There is, however, in the possession of Mason's descendant's a newspaper cutting (the paper is not known), which contained some particulars of his career, and an appreciation of his work. This interesting record remained hidden sway for many years.

"Mr Mason's high position as an artist, and his connexion with many public affaire," it was stated in the article, "made him so well-known about the.town that there was always someone ready to hold him by the button and listen to his kindly talk He had a good word for everyone, and would aid in any good cause-public or private. "

“In pecuniary matters, however, misfortune seems to have been his constant companion, and to have laid a heavy hand upon him. He was singularly unlucky in most of his literary or artistic speculation, his most successful periods being when engaged by others He was the father of illustrated journalism in this colony, having twice established an 'Illustrated News' and 'Punch' in this city, all of them failing, however, for the want of large capital."

ILLUSTRATED JOURNALISM.

It was also stated that "at the time of his death Mr Mason was the engraver for ' Punch ' (for which paper he was artist from the commencement) and the 'Illustrated Sydney News.' One of the most beautiful engravings (designed, also, we believe, by him) ever issued from his or any other atelier was the title-pages of ' Scott's Australian Lépidoptère,' the block of which was sent to England to be printed. His engraving was recognised amongst artists as singularly soft and finished Boms' of his title-pages for the music albums issued in Sydney are very beautiful. He was a draughtsman as well as an executive artist."

Another remark was : " Since the establishment of the present 'Punch.' Mr Mason's engagement had so increased that he employed several workmen. His second son, Edward, has evinced such talent under the skilful tuition of his father, that he will continue the practice of the art, and the name of Mason will still appear on the Punch' illustrations."

EXAMPLES OF MASON'S WORK.

A search of the periodicals mentioned revealed many examples of Walter Mason's admirable work. A few weeks ago I came into possession of a volume of the "Illustrated Sydney News" for the years 1864-1868, and containing the early issues of the paper, which was first published on June 16, 1864.

In the issue of March 10, 1861, appeared this paragraph: "Mr Mason was justly considered one of, if not the very best of his profession in Australia. Specimens of his work have appeared in every issue of this journal and at the time of his death he was engaged on one for the present issue As an artist and as a man his loss will be felt and deservedly regretted."

Issues of the "Illustrated Sydney News" from 1884 to 1866, containing many engravings by him, including many portraits as well as general work The issue in which his death was announced contained a portrait of " Mr. James Cooke, of the World Circus Company."

As late as 1863 the name of Mason (without initials), and sometimes in association with another artist named Jackson, appeared in the " Illustrated Sydney News." There is little doubt that this Mason was Walter Mason’s son, Edward.

His was an art which disappeared from the newspapers since the introduction of the present-day half-tone engravings. Mason was a true artist and also an excellent technician, and in any comprehensive history book and newspaper illustrating of his period he is entitled to an honoured place. MYSTERY ARTIST OF OLD SYDNEY Career of Walter Mason (1937, February 20). Morning Bulletin (Rockhampton, Qld. : 1878 - 1954), p. 8. Retrieved fromhttp://nla.gov.au/nla.news-article55584992

DEATHS

MASON-On the 12th instant, at his late residence, Williams, terrace, Stanley-street, Woolloomooloo, Mr.Walter George Mason, engraver on wood, aged 46 years, leaving a widow and six children, with a numerous circle of friends, to lament their sudden untimely loss. Family Notices (1866, March 19). Empire (Sydney, NSW : 1850 - 1875), p. 1. Retrieved from http://nla.gov.au/nla.news-article60592601

It appears that Mr. Walter Mason, the wood engraver, died from the rupture of an aneurism in the heart or some of the greater blood vessels. EPITOME OF NEWS. (1866, March 24).The Armidale Express and New England General Advertiser (NSW : 1856 - 1861; 1863 - 1889; 1891 - 1954), p. 3. Retrieved from http://nla.gov.au/nla.news-article187929418

The widow of the late Mr. Walter Mason, wood engraver, acknowledges the receipt of the Proceeds of a benefit lately given for her and her family.Epitome of News. (1866, May 19). The Armidale Express and New England General Advertiser (NSW : 1856 - 1861; 1863 - 1889; 1891 - 1954), p. 4. Retrieved from http://nla.gov.au/nla.news-article187929652

George Penkivil Slade was a painter and solicitor, migrated from England to New South Wales in 1858 and settled in Sydney where, with various partners, he practiced as a solicitor from 1863 to 1880. In 1865 he married Annette de Mestre (subsequently aunt of the painter Roy de Maistre ). Slade was a great admirer of Conrad Martens , a neighbour on the North Shore, and his watercolours often display many of Martens’s mannerisms. On 8 February 1878 he wrote to his mentor thanking him for 'the opportunity I have had for many years of rummaging in your studio, pausing and pondering over your sketches’. He purchased a number of Martens’s paintings between 1868 and 1878 and expressed his gratitude for 'the advantage of having such masterful productions in my own possession … incalculable to an amateur’. He lent one of his Martens views to the 1870 Sydney Intercolonial Exhibition.

Slade exhibited as an amateur with the New South Wales Academy of Art from 1872 to 1877, showing watercolour, wash and pencil views of New South Wales from 1875. In 1874 he showed four oil paintings – Hawkesbury from Peat’s Ferry ,The Basin, Refuge Bay, Pitt Water , On the Mulgoa Creek and View from the Blue Mountain Inn – but in 1877 had reverted to watercolour, exhibiting Creek, Nattaiand Bumbo Creek, Bodalla in the medium. Said to have become colour-blind in the early 1870s, Slade returned to England in 1880. He died there 16 years later.

Slade’s album of 80 watercolour views around Sydney and on the Nepean sold at Sotheby’s (London) in November 1984 for $A52 000. The scenes, dated 1858-64, include competent and rare interior views. A later album now containing 74 watercolours is owned by the National Library (some 30 sketches were sold from it in the 1970s). They were produced between 1867 and 1869 and also include views of Sydney Harbour ( Balmain Regatta, 30 Nov. 1867 ), the Nepean ( The Hawkesbury Peats Ferry, 15 Jany 1869 ) and the south coast ( Twofold Bay, 11 February 1868 ). Other sketches were made on a trip to the Blue Mountains (three views of Govett’s Leap dated 26 October 1868 and Hartley Kerosene Works, 27 Oct. 1868 ) and there are 12 views near Hobart Town made on his first visit to Tasmania from 15-25 February 1868 ( All Saints Ch. Hobarton, Tasmania, 22 Feby/68 ).

A watercolour of Hobart Town dated 17 February 1868 is in the Tasmanian Museum and Art Gallery together with a few other views and a tiny sketchbook containing 43 drawings and watercolours, including sketches made on a second visit to Tasmania (this time with his wife and child) from 17 December 1869 to 17 January 1870. The Mitchell Library also holds a number of his pencil and pen-and-ink sketches. A late work, Sydney from Fortification Road(1879, pencil and white), was sold at Christie’s (Australia) in September 1984.

Two lights were exhibited on Barrenjuey, which forms the south head of the entrance into Broken Bay, for the first time, last night. It will, perhaps, be in the recollection of the readers that the sites of these new lights were fixed on the 8th of last mouth, when a party of gentlemen, consisting of the Governor, the Superintendent of Pilots, Captain Hixson, the Colonial Architect, Mr. Barrett, the Engineer-in-Chief for Harbours and Rivers, Mr. Moriaity, Mr. Coles, of the Colonial Architect's Department, Mr. Stewart, M.L.A., Mr. Trunks, M.L.A., and several other gentlemen, went down to Broken Bay in the Government schooner Thetis. The site of both the lights having been fixed, the work of erecting the temporary towers was commenced almost immediately, under the superintendence of Mr. Hudson, of the Colonial Architect's department and they were finished about a week ago.

The towers are temporary structures, the inner one being twenty feet above the rock, and the outer one ten feet.. Each tower is constructed of four hardwood posts, firmly fixed in the rock, which has been excavated to receive them, and they are protected from the weather by sheets of corrugated iron. The lanterns are fixed up on the wooden structure, and about four feet below the lights running round each tower, is a platform from which the trimmer can light and clean the lamps. A sleeping berth for the light-keeper has been fitted up in the larger tower, which is placed at a distance of 1180 feet in a W.N.W". direction from the outer tower. The outer light is 315 feet and the inner one 347 feet above high water mark.

Each tower is furnished with three lanterns lighted with kerosene, to form a fixed bright light, and will be visible at a distance of about twelve miles to seaward. From a notification to mariners in the Government Gazette, we learn that both lights will be eclipsed between the bearings of South mid S.S. E ½ E., to prevent them from being seen over the land which recedes from the Outer South Head, and also to ensure a vessel to pass a safe distance off the South Head, when running with the lights in sight for the purpose of obtaining anchorage in Broken Bay.

The lower, or outer light, will be lost sight of in rounding Barreujuey, but the upper light will be a good guide for coasters bound to Pitt Water, or for large vessels anxious to obtain shelter in Flint and Steel Bay. On Tuesday last the Thetis went down to Broken Bay, taking as passengers Captain .Myhill, Harbour Master of Port Jackson, Mr. Coles, and Mr. Robinson, the manufacturer of the lanterns, when both lights were exhibited for a short time, and their position and bearings examined from various points seaward by Captain Myhill, prior to the return of the steamer to Sydney. It was intended to have a picnic to mark the occasion of the lighting up of these two lights-which, by the way, are to be called " Stewart's Lights," after Mr. Stewart, one of the members of the Assembly for East Sydney, who has been the principal mover in the matter, and had the weather continued fine the Thetis would have gone down to the bay yesterday morning with a number of gentlemen. As the weather proved so stormy, the trip by sea had to be postponed, and Mr. Robinson, and Mr. Mulhall, who has been appointed light-keeper, went overland to light up last night. A notification for the intention to exhibit these lights has been in the papers for a fortnight, but it should undoubtedly have been given much earlier-Sydney Herald, July 21st. SHIPPING INTELLIGENCE. (1868, July 29). The Mercury(Hobart, Tas. : 1860 - 1954), p. 2. Retrieved from http://nla.gov.au/nla.news-article8853675

1, Bar Island, and Chapel, at the entrance to Berowra Creek. 2. Barrenjoey, from Blind Cove. 3. Mooney Point, and Ruins of the Old Inn. 4. View on Cowan Creek. 5. Our First Day: taking it quitely. 6. The First Rocks In the Gorge, overshadowed with Weeping Willows. 7, The Great Northern Road. 8. Our First Camp. 9. Wiseman's Ferry, and Ruins of the Old Church. 10. Wiseman's Ferry and the North Shore Ferry. SKETCHES TAKEN DURING A TRIP TO THE HAWKESBURY. (1880, December 25). Australian Town and Country Journal (Sydney, NSW : 1870 - 1907), p. 24. Retrieved fromhttp://nla.gov.au/nla.news-article70950994

Blind Cove, Pittwater, N.SW. This beautiful little bay shown in our illustration, formerly private property, has been made a reserve of by Government, and is now practically a cruising1 ground for the yachting community of Sydney. A more useful and delightful sheet of water could not have been chosen, situated as it is at the entrance to the Hawkesbusy River, just opposite Barrenjoey. To the north is the broad expanse of water known as Brisbane Water, and to its south Pittwater, which is now connected with Sydney, Newport, and Manly by means of a coach running daily. Blind Cove, also called The Basin, is a safe refuge in the very worst of weather. It owes its name of Blind Cove to the fact of its being invisible to the incomer until he has almost reached its entrance, which is very narrow and hidden from view by a low stretch of sand ; but inside this narrow passage there is deep water, and the height of the hills surrounding the basin (some 600 feet) so thoroughly shelter it from heavy winds that it might well be called Looking-glass Bay. It is on account of this, and also the beauty of the surrounding scenery, that has made it one of the principal rendezvous of yachtsmen. Blind Cove, Pittwater, N.SW. (1883, March 10).Australian Town and Country Journal (Sydney, NSW : 1870 - 1907), p. 26. Retrieved from http://nla.gov.au/nla.news-article70996783

That blue glimmer of electric light along the quay gleams as the entrance of an infernal city, and the red lights above beam as the eyes of a thousand devils, and the smoke goes up as the smoke of a place of torment; for we brain-wearied workers, who have been ground in its mills for many months, are flying away to rest. Yes ; to rest amongst the cool sea spaces and the nodding caps and the sleeping islands and the majesty of beauty and the blessed peacefulness and quiet of that larger heaven within the heads of Broken Bay.' We travel by Manly, and a short hour's journey brings us to that fair suburb. From Manly, by the primitive old coach, to Pittwater. Horses rough, harness rough, coach shaky, road bumpy; still, however rude, right pleasant work, for the great white Easter moon floods all the land with silver sheen and mystery. The low hills rest like sleeping creatures with folded wings, the still lakes are as great glassy windows through which spirits of the inner world might peep at the outer glory, here and there stands a tall palm as a sentinel, and rounding headlands by the open sea the murmur of the waves come up as of a million sea doves cooing through their dreams.

A FEW TALL PALM TREES STAND AS SENTINELS.

High shorelands sink to shelving braches, and there through the weird water the pink sand flushes, as the cheek of a young Endymion to the kiss of the lady moon. Still tearing along with wboop, and halloa, and much persuasion to the tired horses, and by a quick turn upon a sidelong track into woodlands high and dank and dewy, all dark below save for the glimmer of a few white starry flowers, but fringed with silver aloft, for it is midnight, and the moon is in mid heaven. And 'twere well if we could all go to heaven for an hour or two, for the mundane aspect considered in mundane fashion is not inspiriting The journey is ended, and from a grim house comes a grim custodian, gaunt and churlish. House, man, and furnishings all much alike — better forgotten, o-better, perhaps, fixed in memory as things seen upon the shores of that lovely water in the Easter of 1883. What will it be in '93? Certainly it will not be fairer than it appeared at the very earliest dawning of the following day. Look outward and be happy, for the sunrise has not yet lipped the hills. The lovely purple uncrowned by one single gleam of gold deepens to indigo upon the edge of the water, which in its centre reflects the gray of the sky and the dying lights of some few pale twinkling stars. The birds are piping timidly as fearing to break the solemn hushfulness.

NEWPORT BASIN.

The tall trees hold every bough and branch and tiniest leaflet motionless. Only the blue mist quivers waiting, waiting — and suddenly, swiftly as the unfurling o1banners at a trumpet blast, a red light flashes on the high clouds to the westward, and the blue mist is burned up, and the glassy face of the water is broken, and the mystery of beauty of the dawning is thrust out of the world be for the glorious majesty of the day. The day spreads his livery of gold and brightness upon All the hills. The day smites the inner waters and the outer deeps with his strong hand and the white caps leap and flash, and the surges ring upon sand and rock. But very soon that white sail we are awaiting comes stealing, floating, gliding on, compelling the little fluttering breeze to her will, straight up the mid channel and round with a flutter of canvas abreast the narrow space of half civilized shore. And quickly we are on board and at rest.

There is no rest in the world to compare with that perfect abandonment, that absolute repose which comes with the idle lap of water against the vessel's sides, the near shores drifting backwards, a new heaven and a new earth perpetually opening ahead. At noon that autumn day we sailed into ' The Basin 'and dropped anchor. Ten years hence the article will be qualification enough for that basin. It will be no more necessary to ask what basin than what queen when Englishmen stand together to do allegiance. There are beauties enough within our own harbour gates, but they areas tiny pearls to an emperor's crown-jewel when compared with this. Here is a deep, still pool, a Constance, a Leman, a Katrine filled twice a day with the vigour and freshness of the strong sea tides.

THE INNER BASIN.

THE OUTER BASIN -MARY ANN'S HUT.

Round Barrenjoey comes the swirling rush, rolling along the eastern harbour branch through the deep channel, washing the point of the sandspit, whispering on every beach, and lapping gently at the rocky base of every cliff, then resting for a quiet hour while the sun sets or the moon rises, and some few strange birds chirp contentedly in the forest. The hills, of a lordly size in the daylight, rise huge and vast when the moonshines. The great tree trunks below are scarcely perceived, but above, each leaf edge touched by the white light sparkles and gleams, and the waterfall sings louder through the dark, dank fern, and lazily-moving oars strike fire from the blackness that is barred from shore to shore by the long moon rays. Strange that no poet has sung of the mystery of the moonrise, the dawning of the night light. It is colourless but marvellously beautiful, a perfect revelation of all the divinity of form. 'What will the future show us about that basin's banks? Houses, homes, pleasure grounds, one of the chief playfields of the city ? It has marvellous capabilities. Room enough upon the promontory jutting out from cliff toward cliff for such an hotel as we have not yet seen in Australia, water enough, always smooth and still and pure, to give battle space for half-a-dozen warships, or to bathe a nation, and water that about three chains of stout sea- fencing would render absolutely safe against all sharks and finny monsters.

BARRENJOEY.

Now, a yachtsman's cottage and a fisherman's hut occupy the promontory, and for 11 months out of the year there is no more life or appreciation about the basin than about some lone tarn of the backblocks upon whose shore has been erected a boundary rider's hut. Morning brings us a dip in the lazy rollers upon the sand, a splash beneath the fresh water, raining from the ferns, a great breakfast of the black bream that swim into the fish-trap, poor foolish creatures, innocent and trustful as if their home were a thousand miles from any dwelling of man. Noon sees white wings spread again, and a further flight towards undiscovered beauties. Seeking the true Hawkesbury, we beat down abreast of the Heads, past the long sandspit coupling Barrenjoey to the mainland, regarding with much interest the huge,grim, wave-washed, time-worn crag that lacks but around tower and a romance to fetter it to the hearts of a people. It bears a lighthouse useful to the mariner, but only vexatious to the dreamer. Wild and strong and stern frowns that rock with the sea foam at its base and the few sparse wind-tortured trees about its bead. It should have memories other than those of lamp- trimmers' yarns and convicts' jeers and groans.

And Elliott Island, lying almost in mid-channel, is also an artist's rock, so strangely shaped as to be capable of any comparison ; a lion couchant, a headless sphinx, a remnant of some giant's work of the world's strong youth worn down to vast indistinctness by winds and waves. Ah ! let us recall one evening when moored off the west head, the island and the rock, with every distant point, and all the dome of Heaven and the spaces of the sea, were seen transfigured and glorified by the out breathed spirit of a dying day. A thunderstorm had rolled over and lay upon the eastern bar and light from the clear inland western sky smote all its breast with fire. Some little shreds of cloud in midheaven let down a film of rain which bent the rays till they made bows upon the thundercloud, three separate trichord bands of light upon three points of distant land, an intense blackness below, and beyond a strange rich purple and greyness. Right out in the foreground Barrenjoey, his face as the face of an angry giant, every line, point, dent, and scar glowing as with the fire of an inward-born passion, and separated but by a silver band, the lovely Elliott Island cradled in blue water, fringed with the leaping foam, swathed in a silver haze that deepened to golden mist, end darkened too soon to a purple veil, all evanescent and beautiful as a dark proud woman's smile, and yet, thank God, in memory perpetual.

ELLIOTT ISLAND.

Round that West Head the river's mouth, or rather the ocean estuary, divides, and as we keep to the southern bank for a time the land is dreary, its monotony only broken by occasional fringes of sand and damp ravines, down which the waters flash, or trickle silently through wondrous mate of ferns, dense masses of luxuriant colour these ferns, showing every varying tints of tender green and rarest brown, the withered fronds above, dyed in the richest blood of autumn. But they are meanest details, thumbnail sketches in the great gallery. A merrier breeze pipes up from seaward, and in an hour we enter darker water, brown with all the silt of the big river, robbed of its beauty by the land stream and of its usefulness by the tide. A Glimpse of the Hawkesbury. (1883, April 7). The Sydney Mail and New South Wales Advertiser (NSW : 1871 - 1912), p. 640. Retrieved from http://nla.gov.au/nla.news-article162078253

These Illustrations would have been made from woodcuts or engravings.

A VETERAN ARTIST. DEATH OF MR. J. C. HOYTE. By the death of Mr. John Clark Hoyte, which occurred at his residence, 141 Avenue-Road, Mosman, on Friday morning, the art world of Sydney loses one of its oldest identities. Mr. Hoyte was born in England in 1835, and received his early artistic training there, but some years of his early manhood were spent in the West Indies. Returning to England about 1860, Mr. Hoyte married, and shortly afterwards decided to go out to New Zealand, where some time after his arrival he joined the teaching staff of the Auckland Grammar School. It was about this time that Mr. Hoyte's artistic work began to bring him into prominence. It was not long before he occupied a leading position in New Zealand art circles, and it is as a portrayer of the scenic beauties of the Dominion that he will be long remembered. Right up to the time of his death his work found keen appreciation there. About 1877 Mr. Hoyte left New Zealand, and settled in Sydney. He was one of the founders and the first president of the Royal Art Society, among those associated with him at the time being Mr. A. J. Daplyn, the present secretary of the society. Of late years Mr. Hoyte had been but little before the Sydney art public. He was one of the old school, and found it difficult to adopt his ideas to the conventions of the newer artistic cult. The deceased has left a widow and two married daughters (one daughter having died some years ago), and several grandchildren and great-grandchildren. A VETERAN ARTIST. (1913, February 25). The Sydney Morning Herald (NSW : 1842 - 1954), p. 8. Retrieved from http://nla.gov.au/nla.news-article15400595

SCENES ON THE HAWKESBURY RIVER [picture] March 18, 1885. Wood engraving published in the Illustrated Australian news. Published by David Syme and Co., Image No.: mp005304:3085785, Courtesy State Library of Victoria

Charles Bayliss was a professional photographer who showed his works in various exhibitions including the 1883-84 Calcutta International Exhibition.

professional photographer, was born in Hadleigh, Suffolk in 1850, son of Charles Bayliss. Charles junior arrived at Melbourne in 1854 and completed Henry Beaufoy Merlin 's exhibition for Holtermann in the 1870s. He continued to work for Holtermann throughout the 1870s. He married Sarah Christianna Salier c.1883. Died Sydney 4 June 1897 ( Biographical Register ).

The NSW exhibits at the 1883-84 Calcutta International Exhibition included – no.1 Bayliss, Charles, 348 George-street, Sydney – Landscape Photography … Addenda – withdrawals – Bayliss, C. (Class i) Landscape Photographs. Also Commissioners for NSW exhibits – Panoramic view of Sydney, prepared for the Commission by Mr C. Bayliss, of George-street, Sydney, and taken by the photographer from the Cupola of the Dome of the Garden Palace, prior to the opening of the Sydney International Exhibition of 1879.

At the 1886 Colonial and Indian Exhibition in London the NSW exhibits included 'no.50 Holtermann, B.O., M.P., the Trustees of the late, 674 George-street, Sydney – Large Panoramic View of Sydney and Harbour [by Bayliss]’. Copies of Bayliss’sAlbum of Photographs of the Sydney Exhibition Building and Other Sydney Buildings (1879) are in various public collections, including the NLA (album 129). -record at Design and Art Australia Online

Sir.— As the sole surviving son of the late Charles Bayliss, photographer, referred to in the article dealing with photographs of the gold-rush days ("Herald," February 28), may I be permitted to enlarge on his work.

I quote from an obituary, which appeared in the "Australian Photographical Review" on June 19, 1897, two weeks after his death: "He also took the well-known panorama of Sydney and the harbour from the great dome of the Garden Palace in the Domain and, to get this, performed some astonishing and risky feats of climbing and balancing on the outside of the dome. The picture was taken on a series of 18in x 22in plates and, when completed, formed a panoramic view nearly 20ft in length..."

These, as well as all other work by him, were taken on "wet plate" negatives. He took a vast number of photographs of Sydney, the suburbs, mountains, and country, as far as the Victorian border, as well as groups and portraits.

After Beaufoy Merlin's death, Charles Bayliss took over the business and carried on in his own name until his death. Many of the photographs found in the shed on the property owned by Mr. Holterman were taken by Charles Bayliss. E. E. BAYLISS. Greenwich Point. Early Photographs (1953, March 7). The Sydney Morning Herald (NSW : 1842 - 1954), p. 2. Retrieved from http://nla.gov.au/nla.news-article18360482

Old Photographs Tell Story Of Gold Rush

[By A STAFF CORRESPONDENT]

Henry Lawson underestimated the power of the camera when he asked wistfully: "Oh, who would paint a goldfield, and limn the picture right?" He was remembering the Gulgong goldfields of the 1870s—but forgetting a photographer, Beaufoy Merlin, who had limned the picture of those roaring years on thousands of negatives.

MERLIN 'S photographs, recovered from a Chatswood shed where they lay neglected for more than 40 years, will be shown at the Mitchell Library next month.

They belong to a collection gathered in the 1870s by Bernhard Otto Holtermann, the Hill End miner who found the world's largest specimen of reef gold in 1872.

After this find—a 630lb lump of metal which yielded 11,000 ounces of gold—Holtermann could afford to hire a photographer, Beaufoy Merlin, to gather material for an exhibition of Australian photographs which he planned to hold in Britain.

Merlin, who had already taken hundreds of photographs in Gulgong during 1871, accepted this commission and took his photographer's caravan to Hill End.

Although his health was failing, Merlin worked hard at Hill End before returning to Sydney in April, 1873. Five months later, at the age of 43, he died of "an inflammation of the lungs."

His assistant, an able photographer named Charles Bayliss, carried on Holtermann's project during the next three years by photographing streets, buildings and industries in Sydney, Melbourne, Ballarat, Geelong, Carcoar and Dubbo.

Bayliss's photographs were fine examples of large wet-plate photography; but Merlin's smaller negatives taken on the goldfields of Gulgong and Hill End form the more interesting section of the Holtermann collection. Bayliss photographed panoramas of cities; Merlin focused his wetplate camera on people.

Story Of Find

In 1876, Holtermann successfully exhibited many of these photographs in England. They attracted much attention; but little was heard of them after Holtermann's death.

Credit for recovering the photographs belongs to Mr. Vyvyan Curnow, a member of the staff of the Australasian Photo- Review, a magazine published by Kodak (Australasia) Pty. Ltd.

["There is the genially ferocious butcher, holding knife and steel and wearing a striped shirt . . ." One of the Holtermann photographs of Mayne Street, Gulgong, in 1871.]

During 1951 Mr. Curnow was preparing an article on the Holtermann collection. He found some photographs from the collection at the Mitchell Library and was told that Holtermann's daughter was still living at Chatswood.

In December, Mr. Curnow visited the Holtermann home and found that Mrs. Holtermann had died two months before. Her son, Mr. Bernhard Holtermann, told Mr. Curnow that there were some photographs in a shed behind the house.

Mr. Curnow and Mr. Holtermann broke the lock on the shed and found the Holtermann collection—3,000 negatives neatly packed in cedar boxes.

Mr. Holtermann decided to donate the negatives to the Mitchell Library. Kodak (Australasia) Pty. Ltd. developed and enlarged selected negatives which will be exhibited during March at the library.

The 1870s, as Henry Lawson has written, were years "when finds of wondrous treasure set all the South ablaze."

The calm solitude of Gulgong was broken in April, 1870, when a man named Tom Saunders galloped down to the police station at the Two Mile Flat to report the discovery of gold.

By June, 500 people had camped on the diggings at Adam's Lead, and by January of the following year the population had grown to 3,000.

Other discoveries followed at Happy Valley, Caledonian and Canadian Leads and Home Rule, and by the end of 1872 there were 20,000 people on the fields.

Within four years the miners had won 300,000 ounces of gold which fetched £3/17/6 an ounce. The name Gulgong—corrupted to Goolgong, Gilgong, Gulegong or Golgong—was on every miner's tongue.

Hub Of World!

"Why, man, there is nothing like it!" said a young English clergyman on first seeing the gold town. "The scene from here is immense, exhilarating. Yes, Gulgong is the hub of the world!"

'And another clergyman from Sydney: "It fills me with amaze-ment. The order and good tem-per of these rough-looking men, the continual motion, the noise, the glare and glitter in your main thoroughfare, the picturesqueness of it all and the untold possibilities."

For all this, Gulgong was a primitive community. One visitor described the town of poles and box-bark as the ugliest-looking town he ever saw. "It might have been picturesque, but it was abominably mean looking." He said.

Ugly or picturesque, Gulgong and Hill End were alive and vigorous. The cry of "Rush oh!" had attracted Bulgarians, Greeks, Scots, Americans, Canadians, Irishmen and Chinese, as well as native-born Australians.

It was a long trip from Sydney to Gulgong; but the trip was worthwhile for hundreds of miners. They travelled by train from Sydney to Wallerawang, by mail coach to Mudgee, and by Tom Tarrant's coach or horse-back to Gulgong.

Gulgong's 30 hotels did a roaring trade in beer and whisky. One miner gained a reputation by taking 80 nips of whisky in a day; another achieved the same fame by drinking 10 gallons of beer.

The click of billiard balls came from saloons and the sound of concertinas, accordions, flutes and tin whistles filled the night air. Miners crowded into Saw-bridge's "cafe chantant" to be served cafe au lait by girls dressed in shorts and tights.

Theatre Shows

The theatres offered burlesque ("Aladdin the Wonderful Scamp"), drama ("Oliver Twist") and lectures (Mrs. Constable re-plying to "Edith O'Gorman, the Escaped Nun"). But housing conditions were poor. Most min-ers were content to live in bark shanties for a few years before moving on to another field.

New South Wales was swollen with the profits of gold and wool at the start of the 1870s and its citizens could feel the latent vigour of their new continent stir-ring around them. Cockiness and self-confidence are perhaps the most striking features of Merlin's photographs.

There is the genially ferocious butcher, holding knife and steel and wearing a striped shirt, leather apron and Stetson hat.

A customer, striped-trousered legs apart, thumbs in belt and hat pulled down over one eye at a jaunty angle, stands grinning outside L. J. Hart's tobacco shop at Hill End. A mother stands with her children outside a rude bark hut which she has tried to improve with lace curtains.

Merlin took the only known photograph of an Australian gold-strike. The members of the syndicate are standing in front of the forge, their leader holding a pan in which three nuggets are clearly visible. A neatly dressed mining warden's clerk, who has obviously just arrived, holds a shovel and looks officiously at the camera. Behind the forge, near the shaft, a red flag has been hoisted to indicate that a strike has been made.

Fossickers still chance upon gold at Gulgong to-day; but the time of red flags has passed. "But golden days are vanished, and altered is the scene," wrote Henry Lawson, "The diggings are deserted, the camping-grounds are green."

But Beaufoy Merlin and Bernhard Holtermann have helped to preserve the picture. Old Photographs Tell Story Of Gold Rush (1953, February 28). The Sydney Morning Herald (NSW : 1842 - 1954), p. 2. Retrieved from http://nla.gov.au/nla.news-article18359317

Mr. B. O. Holtermann.

The contemplated departure of Mr. B. O. Holtermann for Philadelphia, where his splendid panoramic views of Sydney and other photographs are to be shown at the Centennial Exhibition, will probably be delayed through illness. Mr. Holtermann is confined to his bed, and is being attended by Drs. McKellar and Schuette. Mr. B O. Holtermann. (1876, March 15).Evening News (Sydney, NSW : 1869 - 1931), p. 2. Retrieved from http://nla.gov.au/nla.news-article107180058

The Australian Photographic Journal recently offered a series of prizes for photographic work, suitable for half tone reproduction, of Australian subjects, and the result has been a collection of very beautiful and artistic photographic work. The judging was entrusted to Judge Docker, president of the Photographic Society of New South Wales : Mr A.A. Lawson, lecturer on photogravure and photo-mechanical process work at the Technical College ; and Dr. W.F. Ponder, editor of the journal. So exceedingly good was the work entered for the champion prize (£20) that there was con-siderable difficulty in deciding. The award went to Samuel Cox, Kiama, for 12 pictures of Illawarra scenery, coast scenes, and industries. The work was beautifully luminous, with charming cloud effects and rich in an atmospheric quality, while the detail, even in the darkest shadows, was remarkable. Mr F. Styant-Browne, Secretary of the Photographic Society of Northern Tasmania, who took the prize (£6) for the best six amateur prints, had half a dozen pictures equal to the champion, but some of the other half dozen just lost him the champion prize. The professional class for best six pictures (£6) was won by W. Livermore of North Sydney, with a series of very beautiful prints representative of New South Wales from the Clarence to the Hawkesbury. In Class 4, three amateur prints, Charles Gruncell, principal of the Harrington Col-lege, Hobart, took first prize with extremely good work, and Edward Kennedy, of Hillgrove, with three pictures of ice-bound rocks, took second. H. Henry, of Marrickville, who was third, had one pic-ture of the National Park so fine that, had the others been up to it, they must have taken a higher position. The remaining prizes in this class were — Fourth, F.W. Niven, Ballarat (one picture of reflections particularly fine) ; fifth, T.C. Atkinson, Kiama ; and sixth, M. Dominick, Cobar. The pro-fessional class for a set of three was headed by Donald Cameron, of Canberamajurra, with excel-lent studies of prospectors, shearers, and wood- splitters ; the second award going to Stephen Spurling, of Launceston, with artistic presentments of Tasmanian scenery. R.H. Holden (Kiama), William D. Thorne ( Walhalla, Vic.), John M'Fadyen (Currabubula), and Albert Cooke (Currabubula), won third, fourth, fifth, and sixth prizes respec-tively. Mr M'Fadyen had one particularly fine pic-ture of wool teams, but his chances of higher award had been spoiled by attempting plates too large for the lens. A Photographic Competition. (1896, September 19). The Sydney Mail and New South Wales Advertiser (NSW : 1871 - 1912), p. 596. Retrieved from http://nla.gov.au/nla.news-article163787021

The North Shore Ferry Steamer . Cammeray on the Slip at Mort's Dock,

SHOWING THE DAMAGE DONE TO HER THROUGH COLLIDING WITH THE STEAMER SYDNEY.

On Saturday last a large number of excursionists availed themselves of the holiday to visit Newport, which is situated at the head of Pittwater, about three hours steam from Sydney; and as there has been for some time continual allusions to the attractions in and around its locality, I took a ticket at a cost of 5s. for the trip, and must say the amount was well spent, the excursion turning out pleasant beyond all expectations. On landing at Newport, with an appetite sharpened by the steady steam trip of fifteen miles to Barranjoey, against a light north- easterly breeze, and being composed by the smooth run of four miles up the Pittwater inlet, the sight of a good supply of peaches with the bloom on them, pears, apples, and passion fruit, etc., beneath a tent erected by some enterprising local farmer, was a welcome surprise, and it is needless to say the fruit suffered severely.

After this the Newport Hotel was visited, and, as dinner was ready, this had to be attended to at the moderate cost of 1s. 6d. but, the time being limited, the roving portion of the excursion began, and I soon found beautifully-shaded glens, with picnic parties sitting upon beds of light green moss, beneath broad-topped trees. There were ferns of many kinds to gather; the native cabbage-tree, rock lilies, and stag horns, could be seen growing to perfection ; and then the climbing-plants attached from the bottom to the top of the high gum trees, and drooping, in naturally-formed festoons, from the ends of each bough to the ground, and, passing on to other trees, formed a picture not soon forgotten. Afterwards the sea beach was reached in about three quarters of a mile from Newport, and we learned of numerous caves to visit, but they were left for a more convenient time, and the fear of being too late for our steamer soon brought us to Newport beach, where oysters are numerous; and there must be good fishing ground near, as some fair samples were hauled ashore by those people who, came prepared with lines and other articles.

It is lucky the caves and other things we heard of did not tempt us, for it was not long after reaching the wharf that the Illawarra's whistle gave its last shriek, and we were just arranging how to while away the time on the homeward trip, it never being considered pleasant to go back the way you come. On turning the first point after leaving the Newport wharf, a beautiful scene of hill and dale on both sides of the noble expanse of the broad lake-like Pittwater, with bold grotesque shaped sandstone headland projecting at numerous parts on both sides, and neat white sandy beaches nestled at the ends of irregularly formed bays, stretching 4 miles to Barrenjoey on the west side, and to the Hawkesbury Head on the east, with an island in view between these points, of couchant lion shape, as if guarding the entrance of the angry sea when setting from east to west, and on turning Barranjoey Head for home to observe the created waves dashing against the rocky projections causing white fairy like foam for a moment, and at times when dashed high enough, the prismatic colors of the particles of sea water were so brilliant that one might be excused for wishing they would not fade so soon. At this stage of the trip, however, the pleasures ended for me, as the steady rolling waves caused curious feelings, culminating in irregular movements over the side of the steamer, and making me wish myself safely moored in Sydney, as was the case at 7.20 p.m.

CHARM OF NEWPORT.Where the road dips down it is nestled there,With its headlands green as a mermaid's hair;And the sun a-gleam on its sapphire seaWhere the spray leaps high and the waves break free.Hear the wild gulls call from their rocky ledge,Where the she-oaks sway to the water's edge;And the air is cooled by the evening breezeAs the sun sinks low o'er the mangrove trees.With its golden beach where the wet sands gleamOn the brink where the billows swirl and cream;When the lilac shadows of twilight fallI am winging there at a whip-bird's call!Dorothea Dowling.CHARM OF NEWPORT. (1935, March 14). The Sydney Morning Herald (NSW : 1842 - 1954), p. 11 Supplement: Women's Supplement. Retrieved from http://nla.gov.au/nla.news-article17171353

MissJean Curlewishas realised the possibilities of a mangrove swamp as a setting for strange and thrilling adventures, and has exploited them with good effect in "Drowning Maze." Visitors to Pittwater are acquainted with the intricate tangle of scrub and channel at the Newport end, but they probably have no suspicion of the exciting things that happen in this eerie locality. Miss Curlewis lets them into some of Its Intriguing secrets. Her protagonists are four in number, and hall from a school near Sydney. There Is "Streaker," a champion athlete, a person of remarkable prowess, and a thoroughly good follow to boot. There is "The Cynic," who despises football, but Is well versed in English literature, and Is a highly sagacious and resourceful Individual. There is "Humpty Dumpty," who has been regarded by his schoolmates as of no particular account, but blossoms out miraculously, and reveals unexpected qualities of leadership in the strenuous times ahead. And, finally, there is Podmore, an urchin who supplies some of the comic relief. Humpty Dumpty astounds his seniors by proposing that they should accompany him on a mysterious expedition to an unknown destination for an unspecified purpose. They are, In fact, to sail, or rather motor, under sealed orders. After some hesitation, they agree, and they receive their directions at the Spit, where also they discover the enterprising Podmore, clinging precariously to the back of the car, an extremely dusty and dishevelled stowaway. It would be unfair to describe their mission or Its denouement, but it Involves stirring doings in the mangrove swamp and in "The Hole in the Wall" on the ocean side of the Barrenjoey road, much dashing about In powerful cars, and speedy motor-boats, and excitement enough to satisfy the most avid seeker after adventure. Miss Curlewis is to be congratulated upon her second essay into fiction. It Is a rattling good yarn, which every boy will enjoy thoroughly. (Ward Lock.) NEW FICTION. (1922, October 14). The Sydney Morning Herald (NSW : 1842 - 1954), p. 8. Retrieved from http://nla.gov.au/nla.news-article16027779

From Album - Scenes of Pittwater, N.S.W, Date of Work ca. 1900-1927 by Sydney & Ashfield : Broadhurst Post Card Publishers. Images No: a106166 'Pittwater' and a106165 'Pittwater & Lion Island', a106167 (top of page) 'Pittwater' a106168 'Pittwater from Newport' and a106169 'McCarrs Creek, Pittwater' - William Henry Broadhurst (1855-1927) began publishing postcards from around 1900. Many of the photographs were hand coloured by his daughters before sale. - from State Library of NSW

The Patonga is a motor launch, engaged, morning and evening, of every school day, to convoy children residing at Barranjoey, Careel Bay, and the adjoining district, to ;the Bayview (Central) School. - Pittwater, although one of the most beautiful, interesting, and picturesque bf Nature's gems, is by the very reason of its loveliness, n difficult place to provide with schools. Until quite recently the only way these children could get to either Bayview or Newport Public Schools, was by rowing boat, the distance in some cases being nearly eight miles. It will be seen that only in very fine weather was it possible to attend school, and the result, unfortunately, was that the people, by the peculiarity of their location, were practically debarred tho advantage of our Public Instruction Act.

Numerous requests were made to have more convenient school accommodation for these children (29 in number), but there was this difficulty -That to give all these families anything like equal opportunities, would have necessitated two or three small schools. Early in the present year, the Hon John Perry, then Minister for Education, Instructed Mr. Senior Inspector Lobban to take the matter in hand, and ascertain the best way in which the request could be treated. After exhaustive inquiries had been made by that able, officer; assisted by Mr. S. Morrison, teacher at Bayview Public School, it was proposed to gather together all the children, and take them by launch to Bayview Public School. This idea commended itself to Mr. Perry, and arrangements were made with Mr. William Sykes,- the owner of the Patonga, to give the scheme a fair trial. Tho service was inaugurated in' April, and has been running nearly four months.. As this was one of tho last administrative acts of Mr. Perry, he may feel proud of the result, which is described in departmental reports as "an unqualified success.". This launch is the first and only school launch in Australia. The boat is a distinct departure from the style usually adopted for motor launches. She is 30ft long and 8ft beam, the motive power being supplied by a 5 h.p. Hercules engine. She was built specially strong to withstand the rough sea sometimes experienced in tho bay, and it ls a source of gratification to the department that all through :the recent heavy weather the timetable has been carried out. She is' in charge of her owner, and presents an interesting appearance as she comes each morning, with 20 to 30 children, to Church Point Wharf.

The Bayview (Pittwater) Public School Launch. Bayview School Launch. (1904, August 3).Australian Town and Country Journal (Sydney, NSW : 1870 - 1907), , p. 37. Retrieved from http://nla.gov.au/nla.news-article71512651

Images is from a Newspaper cutting held by the State Library of Western Australia:

'This image is part of a collection of 69 albums of pictures, postcards, and newspaper cuttings donated to the State Library of Western Australia in July 1961 by the family of the late Mr Miller. Jack Edward Miller was employed as a boatman and cook by the Harbour and Lights Department in February 1902 and spent some time at Breaksea Island lighthouse near Albany.' Call Number U15g.

'RAAMAH, ' TOWLER BAY, PITTWATER, VIA BAYVIEW.'. It has a message on the front and the address on the undivided back, which is postmarked 21 Feb 1908. nma.img-ci20122792-788-wm-vs1_o3_1100 Courtesy National Musueum of Australia

signed and dated lower right: G. FITZGERALD by Gerald E. Fitzgerald, 1873-1935. Image No.: nla.obj-153500624-1, courtesy NationalLibrary of Australia - Geoff Searl, ABHS, states thsi resembles North Avalon Beach Headland - we'd have to agree - 'Hole in the Wall' or 'St Michael's Arch' was a landmark used by ships on their way to Barrenjoey and incidents reported often had 'Hole in the Wall, Barrenjoey' as their location.

Born in Sydney in 1873, Gerald Fitzgerald studied at the Royal Art Society School, Sydney, under W. Lister Lister, and in Paris, and was later appointed to the committee of the Royal Art Society of NSW. He eventually abandoned painting to become a farmer. Gerald Fitzgerald died in 1935

Many works by the artist have been sold at auction, including 'The Manly Jetty' sold at Menzies Art Brands, Sydney 'Menzies Australian and International Fine Paintings and Sculpture Auction' in 2012 for $43,266. The artist died in 1935.

MR. G. FITZGERALD.

Mr. Gerald Fitzgerald, who died in Sydney last week, was a prominent artist. As a young man he studied in Paris, where he exhibited at the Paris Salon. He also exhibited his work In England. Several of his pictures are in the National Art Gallery, Sydney. He was a member of the council of the Royal Art Society of New South Wales for many years.

The funeral took place at the Northern Suburbs Crematorium on Saturday. MR. G. FITZGERALD. (1935, February 11). The Sydney Morning Herald(NSW : 1842 - 1954), p. 13. Retrieved from http://nla.gov.au/nla.news-article17152125

This beautiful Arch is situated on the estate of the late Very Reverend J. J. Therry, about three miles south of Broken Bay. As the scenery along. the coast from Manly Beach to the Bay is of the loveliest description, we advise all lovers of the picturesque to hire a spring cart from Mr. Miles - who lives about half a mile from the Pier Hotel - and proceed, early in the morning, to Mr. Collins' house, about thirteen miles distance, so as to be able to inspect this extraordinary specimen of natural architecture, and to return to Manly the same day if necessary.

As this excursion may gradually become fashionable, we quote a description of the places on the road from the late Postmaster- General Raymond's valuable work, the "Post Office Directory for 1855."

"Seven and a half miles from North Harbour, - Jenkins' house; the road for the last mile along a level sandy beach. On the left is Narabeen lagoon. Mr. Jenkins has a snug house here, and much land in cultivation, which is an agreeable prospect from the sea. Eleven and a half miles from North Harbour -Hut on the sea shore. The path from the Pennant Hills Road reaches the sea, and joins this coast road at the farm of one Foley - a tenant of. Mr. Wentworth's; the distance from thence being twelve miles. About half a mile further on is the south-east arm of Pitt Water, on which there are some small cultivated farms. The head of Pitt Water as seen from the heights along which the road or path leads, is equal to any lake scenery, and there are many romantic spots, with good land, on its banks, which might be converted into good farms. Thirteen miles from North Harbour - Several farms and cottages. Fourteen miles- The Rev. Mr. Therry has a grant here. Fourteen and three-quarter miles - The Hole-in-the-Wall, being a rocky projection forming a rude archway with the shore."

The arch mentioned by Mr. Raymond is about twenty-two feet across the inside, and between thirty and forty feet high underneath. The rocks, of which it forms a part, are seventy feet in height - the colours of these rocks are exceedingly beautiful. At low water the visitor can pass through the arch.

Ascending the cliffs, a view of Pitt Water is beheld, being the harbour belonging to this estate. If an arrangement were madeto have a small steamer plying along the beautifully wooded, lofty, and precipitous shores of the Hawkesbury River, parties of travellers could meet it at this spot, avoiding the disagreeable sea voyage by coming from Manly by land. The steamer could convey them from Mr. Collins' house to Windsor, and the trainwould take them back to Sydney - it being understood that the Windsor railway will shortly be completed.

St. Michael's Arch 1867 - The storm that turned an arch into a pedestal:

BROKEN BAY. [From the Herald's Correspondents.]

June 24. — We have had tremendous weather, but, as far as Pitt Water is concerned, no damage has been done, with the exception to one of our picturesque curiosities, St. Michael's Arch. It has at length yielded to the too mighty elements and the destroying influence of time,— that which, was the admiration of all who have beheld it is now almost a baseless fabric,— there is only about one half of the outer support left, looking at it at a distance it has the resemblance of a colossal pillar. In its fall it carried a large portion of the overhanging rock with it, a thousand tons of gigantic boulders, and in such masses that I think it will stop the ingress from that part to the cave, but as yet we have had no close inspection, for the rollers are dashing to the height of the stupendous rocks. The only idea I can give of the gale is, that the froth of (not spray) the sea came over Mount St. Joseph, opposite the house, half a foot in size, and spread itself down to the dam, at times shading the heights of the mountain, — its resemblance was that of an overwhelming snow storm. The sea at Barranjoey washed away the flower garden in front of the Chinamen's huts, taking soil and all, so that the beach comes close up to their door. There must have been awful havoc in the Hawkesbury, for all the beaches from Barrenjoey to the Long Reach are strewed with fragments of houses, boxes, chairs, doorframes, dead pigs, hay, wheat, broken bedsteads, weatherboard sides of houses, oranges with large branches, pumpkins, melons, corn cobs, and other debris, that scarcely any portion of the beaches can be seen. Mr. Conolly picked up a workbox, in which was contained a number of receipts and letters directed to Mr. Moss, Windsor. The beaches on which are the debris is Barrenjoey, Whale Beach, Collins's Beach, Mick's Hollow Beach, Farrell's Beach, Mona Beach, and Long Reach, so it may be imagined the great extent of destruction. BROKEN BAY. (1867, June 29). Sydney Mail (NSW : 1860 - 1871), p. 11. Retrieved from http://nla.gov.au/nla.news-article166799304

Many resident historians are fairly certain that the above was written by then resident in this region John Collins, or his brother Frank, who worked occasionally at the Broken Bay Customs Station, Barrenjoey headland during these years. Mr. Conolly, who is also mentioned, became a relative by marrying one of the Collin's daughters.

The stone itself was composed of soft sandstone, which doesn't do too well under a constant onslaught of sea and wind. Today there is very little left of any of this stone, you would need to compare the pictures to see what remnant remains.

St. Michael’s Arch was one of those landmarks that may have been used by all the many coastal boats that used to carry produce from Pittwater and the Hawkesbury when using this way to transport crops and fish from what was essentially a rural area was much easier then trying to use tracks prior to the building of roads.

Geoff Searl of the Avalon Beach Historical Society tells us this arch had other names too - ‘Hole in the Wall’ (which it was in reality until 1867 when it lost the top of the arch). It was then called the ‘Pedestal’, the 'Stone Lady', ‘Lot’s Wife’ and the foreign legion soldier (before it lost the very top of the stone column) until around 1962 (our last reliably dated photo of the column). Geoff remembers the geological term of ’sea arch’ being used originally.

circa 1900 when 'the Pedestal'

These images from a 1922 sales brouchure show not only the change to 'The Pedestal' but also changes in the silhouette of North Avalon Beach headland itself:

Housed in a postcard album. Written on the inside of the front cover: June 1914. Photo's taken in New South Wales & Queensland by A. J. Vogan Esq. Special Correspondent of the Illustrated London News at the time of the Eruption in New Zealand. His book 'Black Police' deals with the brutality dealt out to the Natives of Queensland by the early settlers.

E. E. Wagstaff collection. Ernest Edward Wagstaff (1870-1965) was born in Essex, England and came to Melbourne in 1904 to become the first General Manager of British Imperial Oil Co. Ltd. He held this position until 1927, when the company changed it's name to Shell Co. of Australia Ltd. He was a motoring enthusiast, and made trips such as a Melbourne to Sydney trip in 1901, and Melbourne to Adelaide in 1908. Image No.: 70306853, courtesy State Library of Victoria

Lovett Bay, Pittwater. A charming inlet in the Ku-ring-gai Chase, which may, be reached by motor launches, to be hired at Newport, Bay View, or Church Point. (This is now known as 'Little Lovett Bay' - remnants of this causeway are where passengers of Church Point Ferry Service disembark when visiting the YHA at Towlers Bay) From: THE BEAUTIFUL SHIRE OF WARRINGAH. (1915, April 7).Sydney Mail (NSW : 1912 - 1938), p. 34. Retrieved from http://nla.gov.au/nla.news-article166255867

Mr. John Lane Mullins opened an exhibition' of pictures by Mr. Lister Lister, in the Art Gallery of Anthony Hordern and Sons, Ltd., on Tuesday afternoon. Mr. Lister Lister's work is too well known to the Sydney public to need much comment. The collection now on show includes nine oil paintings and fifty-three water-color sketches. Of the former, perhaps the most striking is a study of the Kangaroo Valley. In this the artist has succeeded admirably in expressing on canvas the subtle mystery and sadness of the Australian bush at twilight. The Jetty, Palm Beach, is a distinct contrast, showing, as it does, the bush on sunny day, when sunlight is streaming through the branches of the trees and flecking he water with gold. In the water-color section the finest piece of work is undoubtedly, a comparatively small study entitled. The Smooth Apple Gum. The subject is simply one of our tall giant gums seen against a background of saplings and scrub, but it is the wonderful life and color with which the artist has imbued it that make this picture the gem it is. As you watch the tree you imagine you can see the rich, red sap oozing from its bark and feel the soft bush wind. Nothing Mr. Lister Lister has ever achieved in art is finer than this one study.

The soft Summer Evening Stole Over The Land, reveals the artist in a soft restful mood. Narrabeen Lagoon is another effective study, in which Mr. Lister Lister has caught with marked success the peculiar atmosphere of calm and melancholy that broods over this spot. Anyone who has ever enjoyed a holiday on one of the northern surf beaches will recognise the familiar sand spits, and the winding road at the foot of the shadowing mountains.

Quite a number of pictures in the exhibition have been taken from scenes around this district and as far as Barrenjoey, whilst Bega and other places on the South Coast have supplied the inspiration for the majority of the remainder. The exhibition will remain open for a month. LISTER LISTER'S PICTURES (1917, May 13). Sunday Times (Sydney, NSW : 1895 - 1930), p. 26. Retrieved from http://nla.gov.au/nla.news-article122798208

A biography of Mr. Lister will run in a forthcoming 'Coastal Scenes' focus of Pittwater's Historic Art and paintings/creations page.

'Panorama of Taylors Point with real estate sign advertising upcoming land subdivision', Pittwater, New South Wales, Circa 1917-1920, courtesy National Library of Australia., Image No.: nla.pic-vn6149436 - Part of Enemark collection of panoramic photographs [picture] [1917-1946]

Below: zoomed in sections from above panorama - which show the beach area to an old boatshed and jetty and the SS Erringhi coming up the Pittwater Estuary. You can explore many of these Enemark Panoramas in the National Library of Australia's Online collection - these all have a 'zoom' in feature where you can see the small details of Pittwater - our research indicates they were photographed between 1917 and 1921 - as the Clareville and Taylors Point wharf and jetty were built or replaced during this period - simply go to the NLA website and enter into the Search box 'Pittwater' and choose 'picture' under add limits dropdown box - click on the Panos that pop up and you will see a 'zoom' function - enter 1200x1200 and have an explore - wonderful stuff - visit here

This 'Taylors Point' sale sign is from 1921:

CALL FOR CONCESSION MOTOR AND LAUNCH TICKETS FOR THE SALE AT TAYLORS POINT. THE GEM OF PITTWATER

Panorama of Careel Bay and the jetty, Pittwater, New South Wales EB Studios (Sydney, N.S.W.) Image: nla.pic-vn6154594, courtesy National Library of Australia.This is all the same picture - we have simple blown portions of it bigger to show details.

ON SCOTLAND ISLAND, PITTWATER.

This picturesque spot is one of the few privately owned islands in Australia. It lies just off Church Point, at the mouth of McCarr's Creek, Pittwater, an arm of Broken Bay. Not so many years ago the region was practically unknown even to the people of Sydney. Gradually, however, the popularity of the seaside resorts has accounted for the creeping out of weekend cottages and permanent habitations from Manly to Barrenjoey and around the foreshores of Broken Bay and the various inlets near the mouth of the Hawkesbury River. Even Scotland Island itself is now becoming a week-end resort. ON SCOTLAND ISLAND, PITTWATER. (1920, April 21). Sydney Mail (NSW : 1912 - 1938), p. 5. Retrieved from http://nla.gov.au/nla.news-article159028427

Reproduced with the kind permission of the Ophthalmic Research Institute of Australia

By National Gallery of Australia's Emma Kindred:

'The wooden boathouse, originally used as a shed for sail making, sits out from the curve of the sandy shoreline in Long’s composition, with a ramp leading down to shallow ripples at the water’s edge. Long sketched the scene sitting on the sand looking towards the mouth of Pittwater as it opens out to the Tasman Sea, opposite West Head and Resolute Beach. The view encompasses the dense shrubbery of Barrenjoey Headland, which divides the opposing sides of the peninsula. Long did not invert his drawing before etching the plate, and consequently the image is in reverse.

By the 1920s, Palm Beach was a haven for popular sports such as fishing, sailing, golf and rowing. Prosperous Sydneysiders maintained second homes or stayed in guesthouses that were dotted around the beach. The Palm Beach Surf Lifesaving Club was established on the beachfront in 1921, and the boathouse that faces north, away from the beach on the Pittwater shoreline, was also built around this time.

Mr. Percy Lindsay reveals his breadth of style with telling effect in his exhibition of oil paintings at the Australian Fine Art Gallery of Mr. W. R. Bennett. There is remark-able variety in these pictures, all of conspicuous attainment in colour and atmosphere. Mr. Lindsay has studied nature in varying moods, and has caught her spirit with manifest fidelity. Such studies as "Riddle's Boatshed," ART EXHIBITION. (1927, July 5). The Sydney Morning Herald(NSW : 1842 - 1954), p. 14. Retrieved from http://nla.gov.au/nla.news-article16370289

Not the only work Percy Lindsay did of Andrew Riddle's boatshed it seems:

"Morning, Riddle's Jetty" is distinguished for its bright, sunny treatment, and for the skill with which the artist has man-aged the water reflecting the brilliancy of the sun. The effect would have been better, however, without the clothing hanging out to dry on the boat at the pier, as this falls directly into the line of sunlight. There is moreover, some smudginess in the vessel's rigging. ART EXHIBITION. (1929, March 20). The Sydney Morning Herald (NSW : 1842 - 1954), p. 13. Retrieved from http://nla.gov.au/nla.news-article16539540

ROBERT JOHNSON'S rise to prominence has been unusually rapid. Belonging originally to New Zealand, when not much more than a student he left to join the Anzac forces, first in Egypt and then until the end of the war on the Western Front, from which lie brought back mementoes in the shape of watercolours done behind the lines and one large oil painting of the famous Cloth Hall at Ypres, now included in the official war records kept at Auckland, Wellington, and Dunedin. Some eight or nine years ago he took up residence in New South Wales, and from that time has exhibited with the Society of Artists and smaller group exhibitions. For five or six years he was yet comparatively unknown beyond the small circle of art enthusiasts, since he occupied only his leisure in painting. His cognoscenti, however, had their eye on this promising young painter, and when he had once decided to devote himself entirely to an artist's career his reputation was quickly established, and with an ever widening public. His first one-man show at the Grosvenor galleries in Sydney in the latter half of 1927 had most gratifying results; practically all the pictures were sold out in the first two or three days, one example belonging to the National Gallery of New South Wales, the other to Lady Stonehaven. His second one-man show1 the same galleries a year later, equally successful the point of view of sales, marked a distinct advance in the standard of accomplishment. He was hailed on every hand as 'the coming Streeton,' and his position among the first half-dozen painters in oils of Australian landscape was secured beyond question.

Since that time his work has gained still more in breadth and sureness. There is every reason to deduce from the steady consistency of his development hitherto that he will maintain and improve upon his own standard, and that along the line he has marked out for himself he will go from strength to strength.

ROBERT JOHNSON.

THOUGH he included some very agreeable still-life compositions in his exhibition last year, Robert Johnson has revealed himself so far as primarily a painter of landscape and of the harbour and the coast. In landscape he seems equally attracted by the wild grandeur. of rocky hillsides, by the gentler beauty of rolling pastures and of fruitful farmlands with homesteads and cattle, and by the domestic charm of the countryside on the fringe of the metropolis. Turning to the harbour he seeks for preference those smiling reaches and unspoiled foreshores not sullied by the city's touch. His treatment of the gum-tree, one may say, breaks down Heysen's monopoly. Like Gruner, he has been fascinated by problems of landscape-painting against the light. He is, of course, a pure realist, not over-much concerned with theories and the latest dicta of the pundits. His aim is first and foremost to transfer to his canvas the scene as it appears to him, expressing to the full its natural beauty, but playing no tricks of heightening or distortion to make a striking pattern. And the genuineness and sincerity of feeling in his painting is always apparent, conspicuously free as it is from all suspicion of being worked up in the studio from slight sketches and memoranda made on the spot. His pictures are rounded harmonies in which there is successful elimination of unnecessary detail; there are clarity and definition, but no hardness. His colour is full, yet mellow, avoiding on the one hand stridency and on the other anaemia or a muddy dullness. Particularly admirable in many cases are his distances; and he knows how to paint water as translucent. IN the example of his work reproduced for the supplement to the 'Sydney Mail' Annual Johnson's special characteristics are shown to advantage. This noble prospect, looking from the rocks and sandy scrub of Palm Beach heights beyond Barrenjoey Lighthouse and Lion Island to the further shores' of Broken Bay, is one on which the eye loves to dwell. The artist in his presentation of it has captured no small proportion of its glamour. BEATRICE TILDESLEY.Robert Johnson. (1929, October 9). Sydney Mail (NSW : 1912 - 1938), p. 9. Retrieved from http://nla.gov.au/nla.news-article160392391

AT CHURCH POINT, PITTWATER. The scenery in this locality, which is a favourites' motor run from Sydney, is strikingly beautiful.The Beaches a Wonderful Asset. (1928, October 10). Sydney Mail (NSW : 1912 - 1938), p. 24. Retrieved from http://nla.gov.au/nla.news-article158402502

Beauty. Peace, and Solitude.

This lovely spot may be reached by the motorist in about three-quarters of an hour from Sydney. It is part of Pittwater, just beyond Church Point, and is known to sailing men as McGarr's Creek. Many motorists who go to Church Point are unaware of the fact that the road— somewhat narrow, but with passing places here and there — running up the hill to the beautiful scene here pictured may safely be taken.

Etching and aquatint, titled and signed in pencil in lower margin, 20.1 x 24.8cm. Courtesy and available at Josef Lebovic Gallery

ART EXHIBITION.

MR. HERBERT GALLOP.

Mr. Herbert Gallop's exhibition, which Mr. John Lane Mullins, M.L.C., will open at the Blaxland Galleries this afternoon, contains some exceptionally interesting work. There is quantity as well as quality; for, inclusive of oils, watercolours, and etchings, Mr. Gallop presents more than a hundred pictures.

It is now seven years since he held a one-man show in Sydney. In the meantime, isolated examples of his style have been seen, such as the charming flower study which appeared in the Society of Artists' exhibition. The present series of pictures shows his important development in watercolour. Seven years ago, he had not touched this medium. Now it is his most significant and eloquent mode of expression.

There is great variety among these water-colours. "The Parramatta River" is an essay In pure lyricism, with every detail deli-cate and glowing, yet subdued to calm spaciousness of the sky which soars over all. "Storm Bay, Kiama," on the other hand, pro-vides a splendid outburst of drama in the furious surge and wash of the foam-whitened waves. "Chinaman's Bay, Tuggerah," is a genuinely distinguished piece of work, free in drawing, and highly unusual in the way it, Juxtaposes clear blue and clear green. In "Moonan Brook, Barrington Tops," the artist has experimented with bright colour, and with stimulating results. No. 35A (not In the catalogue) records with extraordinary subtlety the changing lights which pass across water beneath a sky full of ragged clouds. "The Hunter River, Moonan," is an intensely Individual study, which illustrates Mr. Gal-lop's technical command in the suggestion of brownish grass across the foreground. The only doubtful point-and that a small one is a certain acrid quality which sometimes emerges in the tones of green.

Among the oils, the one which dominates the gallery is "Sydney Harbour." A blue of such vividness calls for careful handling, lest it become flat and metallic; but Mr. Gallop has been equal to the occasion. The tiny whit« sails which skim, moth-like, across the water's surface give just the . right touch of vivacity in detail. "Spring Sunlight," which has been bought for 50 guineas by the trustees of the National Art Gallery, is beautifully luminous in general effect. Here and there, amongst the Test of the exhibits, one observes a discreet tendency for the style to withdraw further than before from literal statement, which is not at all the same thing as with-drawing from the reality of things. But, as a rule, the oils are not as adventurous as the watercolours.ART EXHIBITION. (1935, October 25). The Sydney Morning Herald (NSW : 1842 - 1954), p. 9. Retrieved from http://nla.gov.au/nla.news-article27995048

A Picturesque Motor Drive — View at Church Point (Pittwater), from McCarr's Creek. With the approach of warmer weather Sydney motorists are making preparations for outings to pleasure resorts near the city. The charms of the Manly and Pittwater districts and one of the most popular spots near Broken Bay is Church Point. MOTORING. (1929, August 28). Sydney Mail (NSW : 1912 - 1938), p. 45. Retrieved from http://nla.gov.au/nla.news-article160395048

Governor Phillip's Exploration Of the Manly District, 1789. From a Painting by B E Minns.

This impressive and historical picture is reproduced from a painting by the well-known artist B. E. Minns, and illustrates an incident of Governor Phillip's second overland journey from Manly towards Pittwater in 1789. Phillip and his principal officers are shown on what is now known as Beacon Hill. The party is looking back towards Manly (in right-centre distance) and the Heads (on the extreme right) This is a copy of the original of the painting, which is about 36 inches by 24 inches, is in the possession of the artist. In the reproduction a slight liberty has been taken — the original has more sky. ANNIVERSARY DAY, 1788-1935 (1935, January 23). Sydney Mail (NSW : 1912 - 1938), p. 26. Retrieved from http://nla.gov.au/nla.news-article166110726

MR. B. E. MINNS

Artist's Sudden Death.

LANDSCAPE AND, ABORIGINES.

Mr. B. E. Minns, the eminent painter and illustrator, dropped dead while taking photographs at the Taronga Park Zoo yesterday. His camera, which bore his name, led to the discovery of his identity.

Mr. Benjamin Edwin Minns was born at Inverell in 1864. He spent his early years In the country, and there gained his intimate acquaintance with Australian birds and animals, and with the aborigines whom he painted and drew so affectionately. He studied under A. J. Daplyn, Mr. Julian Ashton, and Lucien Henry, and in the eighties, when illustrated newspapers relied on artists more than they do to-day, he did work for the "Illustrated Sydney News" and the "Sydney Mail." About 1890 he began to do humorous drawings for the "Bulletin." Last Friday he called on Mr. H. K. Prior, manager of the "Bulletin," and said that it was 50 years on that day since his first drawing was published In the "Bulletin."

MANY YEARS ABROAD.

At the age of 31 Mr. Minns went to England, and for 20 years he divided his time between London and Brittany, in France, where he made water-colour drawings which won admiration in London and Paris. He exhibited at the Royal Academy and the New Salon, and with the Royal Institute of Painters in water-colours in London. At the same time he continued his work as an illustrator and humourist by contributing to "Punch," the "Strand," and other London magazines.

During his absence he sent water-colours and black-and-white drawings back to Australia at regular intervals. After his return he founded the Australian Water-colour Institute, and was its president up to the time of his death. He was also a member of the Society of Artists, Sydney, and with Lambert and Longstaff was among the artists commissioned by the Art Gallery in 1928 to paint a self-portrait. He is represented in galleries in Paris and Brussels, as well as in most of the Australian public galleries.

FINE WATER-COLOURIST.

Mr. Minns was a fine water-colourist. His work was gay and lucid. All his Australian work was eloquently Australian. His landscapes were generally decorated with characteristic groups of workers, or with animals or birds. His affection for Australian local colour inspired him to do the long series of humorous drawings of aborigines, with which he reached, perhaps, his widest public; and his sympathetic portrait studies of aborigines. At the time of his death he was making photo-graphs of animals for use in work for a one-man show, which was to be held this year.

Mr. Minns lived at Gordon. He leaves a widow. The funeral will take place at the Northern Suburbs Crematorium on Tuesday afternoon. MR. B. MINES. (1937, February 22). The Sydney Morning Herald (NSW : 1842 - 1954), p. 8. Retrieved from http://nla.gov.au/nla.news-article17314514

The Late B. E. MINNS water -colourist and Illustrator

The death of B. E. Minns, water -colourist and illustrator, was recorded in our last issue, accompanied by a fine picture showing him at his easel. He was a man of attractive qualities and marked personality. In build he was of splendid proportions, in disposition he Was kindly , and his reticence masked a wide knowledge of his profession and of men and affairs. His studio at Gordon was invested with many interesting associations.

HEAD OF AN ABORIGINAL WOMAN. The above must be regarded from the point of view of the critic so he can appreciate sound drawing and the other technical qualities that go to the making of a notable picture. In the original the flesh tints and the play of light and shade reveal Minns at his best. He considered the picture — which is in the possession of Mr. Albers — as his most successful study of an aboriginal. His opinion of the aborigines, based on experience, was a rebuke to those who affect to see no good in them.

As a water-colourist Mr. Minns enjoyed a high reputation. He was something more than a mere landscape artist; he was a portrayer of eLSear nfe in action. His pictures are what is termed 'intimate.' He gave much thought to their composition and atmosphere.

Not very long ago he remarked to Mr. A. W. Albers, his friend and representative: 'I have been painting for fifty years, and I'm just beginning to see a little daylight. Life is too short for any one artist who takes his art seriously to reach the pinnacle of perfection.'

THAT Minns was very fond of animals his many pictures and sketches show. But perhaps the work he liked best of all was depicting the aboriginal in his native haunts. Some years ago the late Mr. Meston, who was protector of the aborigines in Queensland, said to Minns: 'To understand the abos you must know them.' 'Yes,' rejoined Minns; 'and to know them is to love them.'

Minns had unusual knowledge of the aborigines and their ways. He was born on a station at Inverell, and he said himself that, after the death of his mother, he had a 'gin' for a foster-mother. AS a youth he was continually using his pencil, and it was not long before he went to Sydney to study art under A. J. Daplyn. He made rapid progress in his studies, and his next move took him to London. Not for 26 years did Australia see him again. Examples of his work, however, came out regularly. Illustrations by him appeared in various English newspapers. Once a year he would send out a selection of eight or ten water-colours depicting scenes in England or Brittany (where he spent four months of each year) for exhibition in the Royal Art Society's galleries. For many years he was an exhibitor in the Royal Academy and in the Paris Salon. As an artist he was almost as well known in Paris as in London.

A FARM IN BRITTANY : By B. E. Minns.

IT was in 1915 — the second year of the war — that Minns returned to Australia. He made the voyage in the P. and O. liner Benalla, and had on board a fine collection of pictures which he intended to exhibit in Sydney. Unfortunately, the ship took fire (supposed to have been the act of a spy) while lying at Capetown, and the pictures went up in smoke. All but a few choice examples which Minns carried in a suitcase were lost. rpHIS piece of ill-luck was made up for to some extent , by the opportunity it afforded the artist of visiting Zululand and making studies of its interesting people. Some considerable time elapsed before the Benalla was ready to sail again, and he made the most of the interim. Back in Sydney, Mr. Minns accepted an invitation to stay a week or two with his friend Mr. Albers at Gordon. He was promptly captivated by the beauties of the scenery thereabout, and he decided there and then to secure a block in the gully as a sanctuary for himself. He made terraces, planted trees, laid out walks; but took no steps towards building a house until one week-end he discovered some boys shooting birds. 'I must put up a house to protect the birds in my sanctuary,' he said to Mr. Albers. That was how he came to leave the city and make his permanent home at Gordon. After the house was built he added a studio, so that his severance with the city was complete. His life-long friend says of Mr. Minns: 'He was a fine artist, with a sense of humour and a lovable disposition. Dead he is not, but departed; for the artist never dies.'

ON A CATTLE STATION : By B. E. Minns.

THE National Art Gallery has many examples of his work, and he is represented in all the important galleries of the Commonwealth. Historical subjects

appealed to him. One of his works depicts the landing of Captain Cook at Botany Bay, and another shows Governor Phillip and a group of officials on a high hill overlooking Middle Harbour and the ocean. These are large and impressive pictures. His studies of bullock teams found many purchasers, and he produced numerous delightful water-colours of harbour bays and the foreshores. One of the choicest was a commission given to the artist by the 'Sydney Mail' — it was reproduced in colour as a supplement some years ago. He also illustrated stories for this paper. B. E. Minns will be missed as one of the interesting personalities of Sydney, and his work will always be treasured. His outlook on life was so friendly and sympathetic that his pictures were invariably pleasing. He did not know the inspiration that springs from genius; his was the high talent of a composed and sincere man. The Late B. E. MINNS : Water-Colourist and Illustrator (1937, March 3). Sydney Mail (NSW : 1912 - 1938), p. 10. Retrieved from http://nla.gov.au/nla.news-article160503009

The Late B. E. Minns

MR. B. E. MINNS, the well-known Sydney artist, died suddenly at Taronga Park on Sunday afternoon last, whilst in the act of photographing some of the animals. It was his camera which, bearing his name, enabled the authorities to identify him. The work of Mr. Minns is well known to all 'Mail' subscribers; for his brush had contributed many times to the coloured supplements of this journal. The deceased artist was born at Inverell in 1864. and was therefore 73 years of age. He spent his early years in the country, but later came to Sydney. After studying under Mr. O. J. Daplyn, Mr. Julian Ashton, and Lucien Henry, Mr. Minns left for England at the age of twenty-one and remained abroad for twenty years, spending the greater portion of his time in Brittany and London. He exhibited at the Royal Academy and the New Salon and with the Royal Institute of Painters in Water-Colours in London. He also contributed humorous drawings to 'Punch' and other British magazines. After his return to Australia Mr. Minns founded the Australian Water-Colour Institute, and was its president up to the time of his death. His work is represented in Paris and Brussels and in the majority of the Australian galleries.Wonthaggi — A Town in Mourning (1937, February 24). Sydney Mail (NSW : 1912 - 1938), p. 40. Retrieved fromhttp://nla.gov.au/nla.news-article160502482

SOME MITCHELL PICTURES.

In speaking of the great gift which bears the title at the head of this page, one is apt to associate it in one's mind solely with the idea of books, as a purely literary collection, forgetting the many art treasures and specimens which form a large part of its interest. The books themselves are of such a paramount value and importance that such a lapse of memory is not only pardonable, but even excusable, in view of the immense literary wealth in store; but the pictures and objets d'art to be seen in the Mitchell library possess a great attraction entirely their own, both from an artistic standpoint and as an adjunct to the early historical records of Sydney and Australia acquired by Mr. Mitchell. All are of value from one standpoint or the other, and in many instances from both. There are many difficulties in the way of seeing the pictures, as they are hung wherever space can be found for their accommodation, and for obvious reasons often in entirely unsuitable positions and lights, which detract much from their effect. It will be a matter for heartfelt congratulation when the whole of the Mitchell gift is safely and befittingly housed; and until then its value as an educational stimulus to the nation is seriously hindered.

Here are some fine examples of Conrad Marten's water colours. Notably one of Stroud is an exquisitely delicate piece of work, and shows his wonderful atmospheric effects to perfection. It is full of the warm transparency that is so characteristic a note in this great artist's best work. There is a lightness and delicacy of suggestion that shows a wealth of imagination, and emphnsises the truth of his delineation of nature by the ideality which is the exclusive possession of only the true artist. Another of his works, painted probably in the same locality, is very beautiful, but perhaps not quite so attractive as the first-mentioned, which to my thinking is a typical example and certainly a gem. In this second one of Stroud the atmosphere is not so translucent, and there is perhaps less of the artist's gift of idealisation. At the same time it is a good specimen of his methods and a delightful picture.

Near those two beautiful water colours is an oil painting presumed to be from the same source, and bearing strong indications that such is the case, though it carries no visible signature - "A View of Sydney from North Shore" - a good picture, and in the delicate suggestion of the view of the distant city showing traces of Conrad Martens at his best; but it is a remarkable fact that whereas this artist was a master of water colour he be- came a mediocrity in oils. His dexterity and daintiness of touch in pencil and water-colour brush, together with the warm transparency, of his shadows and his brilliant opaque lights, are absolutely wanting in his oil paintings. One feels a distinct disappointment in com-paring the two. The first of the two views at Stroud is a specially fine example of his delicacy of handling.

Another water colour from the same brush is a view of Sydney from Parsley Bay, near Vaucluse, with the city in the middle distance and a camp of blacks in the foreground. A fine picture, and rather deeper and richer in tone than the previous examples. The steep bunks on each side of the little bay form a prominent foreground, which emphnsises and throws out the soft ideality of the view in the distance, with its delicate transparency. One notices this arrangement frequently in the Conrad Martens - a building up of the fore-ground on either side of the picture to form a setting and a contrast to the view of the distance - to frame it, in a way. It is perhaps a little theatrical in its suggestion, but undeniably effective. Near this hangs what appears to be a lithograph of Sydney from North Shore, painted by Conrad Martens - a very delicate and beautiful piece of work, in which the colours are laid on heavily in the fore-ground, in a manner characteristic of this artist.

A small oval-shaped water colour of North and South Heads, taken from the Gap, over Watson's Bay, and showing part of the harbour, with the ocean side as well, is a beautiful and dainty piece of work, but is undoubtedly faulty in drawing. South Head is represented as much too precipitous and peaked in formation. Whether this is purely a mistake or done partly to meet the exigencies of the picture is a matter of conjecture, but the fault is certainly there. Apart from that, and quite irrespective of it, the little specimen is a gem, and worthy any collection. In the same room is an. example of Martens' black and white work, showing Circular Quay from North Shore, with Dawes Point directly opposite, and the coastline to Woolloomooloo Bay and the city in the distance. Near this is an engraving from the same subject.

Before bidding good bye to the pictures by Conrad Martens, I should like to mention the large collection of sketches from his hand, beautifully mounted and bound, in three hand-some volumes. The greater number are in pencil, some of which are masterly (a few appear to be of earlier date, and show signs of immaturity) and are chiefly of Sydney and its environs, with a few from views in the Sandwich Islands. One volume consists entirely of sketches in sepia, and those are most delicate and beautiful, and show the master's incomparable touch to perfection. Most of them are interesting in addition to their artistic value as records of Sydney 50 years ago, some of North Shore and one of the Glebe showing almost primitive bush.

There are four exquisite little watercolours by J. Skinner Prout, which are very valuable as examples of the artist's work and also as types of Australian scenery. The first is en- titled "Lake Illawarra," showing an ocean beach, with glimpses of a lagoon in the distance, surrounded by hills, and on the height in the near foreground is a seated figure.

The second is "The Barossa Ranges." A bullock waggon in the foreground of the picture, on a rocky mountain road, hills in the distance, with a plain intervening. In this picture the blue suggestiveness of the distant hills and the misty plain is very delicate.

The third is "South Bank of the Yarra, Melbourne." An exquisite little glimpse of blue water from a height, with, in the middle distance and on either side of the picture, an old house and the rocky river bank, forming a beautiful setting for the view of the river, while in the near foreground is a delightful effect of bright sunshine and the deep shadow of the tree on green sward. A charming little picture.

The fourth is entitled "Near Newcastle, on the Hunter, N.S.W.," and gives a view of the ocean. Indeed, there is a strong resemblance to the view from the heights above Watson's Bay, looking across North Head, except that the bold outline of North Head itself is wanting. The painting of this is very delicate, and the atmospheric effect delightful.

There is a fine example of Prout in "The Interior of a Shepherd's Hut." Very characteristlc in its delicacy and perfection of detail and colour. A beautiful little picture. Near this is a view of "Hobarton, V.D.L., from Mount Nelson," and dated November, 1830; also another view of Hobart Town, which gives no date. These are so finely and delicately executed as to be almost like pencil sketches; extremely faint of colour and dainty of outline. Very exquisite and ethereal in effect. The last example of this artist is a sketch supposed to be taken on the South Coast, but exactly where is not known. A rapid, mas-terly piece of work, which has no pretensions to be called a picture, but is a clever tribute to the artist's power. In the fore-ground is a masculine figure, sketching.

Sir Oswald Brierley is well represented in the "Galatea off Sydney Heads," with the Duke of Edinburgh on board, in 1860. This is a fine seascape, with its effects of storm and gloom and the old-fashioned man-o'-war with her consort coming statelily into port. It certainly brings home to one's intelligence very sharply the immense strides that have been made in naval shipbuilding in the last 50 years. Another example of this artist is the spirited little sea piece representing the Rattlesnake in a storm off Sydney Heads. A capital little water-colour, and full of the suggestion of storm and strife.

There is a pretty little water-colour signed R. M., which is painted by Miss Martens, daughter of the great painter. Very fresh and dainty in its conception, and the only in-stance of her work to be seen.

Two paintings by S. T. Gill, entitled the "Burra Burra Mine," and "Kooringa," S. A., are painted in peculiarly brown tones, and have a sombre, colourless effect. The locality appears uninteresting as to scenery, and the pictures themselves are singularly devoid of the charm that usually characterises fine water-colour painting. No doubt they are faithful representations of the mining district they depict in their absence of colour and effect of barrenness. A more pleasing specimen of Gill's art is the view of Mosman's Bay, but even in this his work is lacking in the beauty of the other examples of water-colour painting in the collection.

In the "Portrait of Captain Murray, R.N.," we have a very fine work of art indeed. He was the discoverer of Port Phillip, and it is probably the only portrait in existence of the naval captain, and is an undoubted original. It is attributed to Hubnor, and in the modelling of the head and the flesh tints is a striking example of clever portrait painting. This portrait would ornament any collection, and is well worth any price that may have been paid for it.

Two charming watercolour paintings of New Zealand scenery, by John Gully, are hung near the four Prouts, are well worthy [of] their proximity to that artist. The treatment of the snow peaks against the background of sky is very delicate, and they are full of translucent colour. In the same room are hung two panoramic views of old Sydney - possibly by Eyre, but this seems doubtful. They are interesting more as a faithful record of the place as it was many years ago, than from an artistic point of view, though their merit is not inconsiderable. One of them shows the country looking towards one end of what is now Darlinghurst-road, showing the harbour in the distance; and the other the same locality from a different point. Several of the old windmills are to be seen in the foreground, and as a relic of early times these pictures are invaluable. It is extra-ordinary how completely the fact of a locality is altered by settlement and building, and the changes consequent thereon, and how impossible of recognition they very shortly are. One only realises upon seeing these early representations of now familiar places how absolutely foreign a country they may become in the course of a few years. In connection with these a water-colour of a part of Circular Quay, taken from Miller's Point, and showing Fort Macquarie and Government House, and the present berth of the P. and O. and Orient liners, may be mentioned as of interest. In the foreground are some of the old houses in the Rocks district. The artist's name is Halstead.

Prominent among the collection is a large pastel landscape, signed Z.J.B., and the work of Miss Zenobia Bowman, of New Zealand. A fine work of art, entitled "Mount Greenock," and probably located in South Australia; a foreground with trees, showing the windings of a creek or watercourse, and a range of hills outlined in the far distance. The atmospheric effects and the treatment of the trees are good, and the whole is a pleasing and valuable picture.

A number of lithographs and engravings from old pictures are of value historically, and as references, among which are two from Sir Oswald Brierley's "Emigrants Arriving in Sydney Harbour," and "Emigrants Leaving the Ships." An old engraving of "Hobart Town, Van Diemen's Land," showing the south-west view, and published in March, 1820, by G. W. Evans. A curious old engraving of "Part of the Harbour of Port Jackson, and the Country Between Sydney and the Blue Mountains," and also a representation of the "Town of Sydney in New South Wales," both by Major Taylor, of H.M. 48th Regiment, are very quaint and interesting historical records. An en-graving of a picture by G. J. Angus,

"Sydney From Vaucluse Bay," and a reproduction from a painting of Sydney and the harbour from the heights of Vaucluse in 1860, by the artist Peacock, are also of value as a memory of days that are past, and old landmarks that are fast disappearing. In one of the rooms I saw a study of a kangaroo's head, and was told that it is by Gerard Krefft, the great naturalist, but the position and light made any close examination impossible; but two charming little modern sepia sketches of parts of old Sydney which have recently been demolished, by Hopkins, were in an excellent position. These, with some very fine and characteristic studies of aboriginal heads, by C. Fristrom, conclude the list of pictures, with the exception of a water colour signed J. H. Carse, 1867, very pale in colouring and delicate in execution, but not otherwise of special interest, and with the locality not specified; and some marine paintings by an artist named Garling.

A very fine coloured photograph of Sir Alfred Stephen is worthy of note, for its fine workmanship and as a portrait; and a quaint coloured lithograph from the "Panorama of St. George's Sound," by Lieutenant R. Dale, 63rd Regiment, and published in 1834, is in-teresting from the "Descriptive Account" thereof mentioned in Mr. Mltchell's collection of Australian literature, and was no doubt of great value geographically in its day. Its want of perspective makes it quaint nowadays from a pictorial point of view, though one appreciates the laborious toil of the artist in compiling it.

In close proximity with the above is a fine collection of Australian book plates, among which one sees many well-known names, and the names of prominent schools and libraries. An interesting possession to book-lovers and collectors.

Among the many treasures of Mr. Mitchell's gift to New South Wales, and one which claims a very general share of attention just now, are the medallions by Woolner, the sculptor, who visited Australia in the early fifties. Of Woolner himself we know that he was a member of the Pre-Raphaellte Brother-hood - that clique of artists who, in the strength of their originality found courage to break away from recognised tradition, and introduce a new era in art - and those names include such famous ones as Ford Madox Brown, Holman Hunt, Millais, and Dante Gabriel Rossetti. Woolner was poet as well as sculptor.During his visit to Australia he executed these bronze portrait medallions of prominent men of the day, and beyond the artist's signature and the date - 1854 - there is no remaining record of the identity of the originals. Naturally the difficulty of identification grows greater with every passing year, and it becomes imperative that there should be no further delay in discovering who were the owners of the fine faces moulded in the changeless metal, fine, strong, determined types, with prominent lower lip and chin, and intellectual head - the true fathers of a nation. Four are already known as Sir Charles Nicholson. Sir Charles Fitzroy, Sir James Martin, and Mr. James Macarthur, but the others are as yet unidentified. One of a rather more ascetic and finely-cut type than the others, the true type of a churchman, there is strong reason to suppose, may be Bishop Broughton, but there is still wanting some kind relative or friend to step in with family portraits and records to establish the fact beyond doubt. The time since the medal-lions were executed grows longer and longer, and very soon the possibilities of discovering who were the subjects will be very distant and far off. It would be a great pity if this opportunity of handing down an authentic po-trait of a great man should be lost. Of course a face in profile is not so easy to identify as a likeness, as a full, or partly full, face would be, as anyone will know who possesses an old-fashioned silhouette or two; and it is easy to make an error, or fail to recognise. Portraits in profile for this reason are to be deprecated. They are not a full or true presentment of character or expression; though, of course, in relief portraits such as these Woolner medallions, which, by the way, are something over half life-size, no other than profile would be possible. SOME MITCHELL PICTURES. (1904, November 5). The Sydney Morning Herald (NSW : 1842 - 1954), p. 6. Retrieved from http://nla.gov.au/nla.news-article14643991